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sBSSjSi^s^igmmgsmsmmisssiimm 


m 


RAPHAEL 


HIS 


MADONNAS  AND  HOLY  FAMILIES 


BY 


MRS.    JULIA    A.    SHEDD 


WITH 


NUMEROUS    HELIOTYPE    ILLUSTRATIONS 


BOSTON 
JAMES    R.    OSGOOD    AND    COMPANY 


Copyright,   18S3, 
By  JAMES    R.   OSGOOD   AXD   COMPANY. 


.franklin  13rrss  : 

RAND,    AVERY,    AND    COMPANY, 
BOSTON. 


<&% 


PREFACE. 


.4. 


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d^ 


HE    four  hundredth   anniversary  of   the  birth  of   Raphael 


^wK^KS^v^     occurred   in   the  present  year.     The  6th  of   April  has 


*S  been  generally  accepted  as  the  birthday  of  the  great 
painter ;  but  his  principal  biographer,  Giorgio  Vasari, 
states  that  his  birth,  as  his  death,  occurred  on  "  il 
Venerdi  Santo."  As  this,  being  a  movable  feast,  must  in 
14S3  have  occurred  on  the  26th  or  the  28th  of  March, — 
according  as  one  reckons  by  the  astronomical  tables  or  the  Julian 
Calendar,  —  the    exact    day    has    been    the    subject    of    some    discussion. 

Just  fifty  years  ago  the  remains  of  Raphael  were  exhumed  in  order 
to  settle  a  question  as  to  the  exact  place  of  his  sepulture.  On  the  iSth 
of  October,   1833,  they  were  again  solemnly  entombed  in  the  Pantheon. 

The  fourth  centenary  has  been  marked  by  fitting  honors  in  the 
land  of  his  nativity,  and  especially  in  Rome,  which  was  so  greatly 
enriched  by  his  works,  and  where   his   ashes   repose.     Although   nothing 


760415 


6 


Preface. 


may  add  to  the  fame  of  Raphael,  yet  all  demonstrations  of  homage  are 
an  expression  of  gratitude  for  his  life,  finished  almost  in  its  youth, 
which  contributed  to  the  world  so  much  that  is  lofty  and  pure  and 
beautiful.  It  has  been  a  grateful  task,  in  this  memorial  year,  to  study 
and   group    together   the   class    of   works    which    he    so    much    loved. 


CONTENTS. 


APHAEL 13 


MADONNAS   AND    HOLY   FAMILIES 

PAINTED    UNDER   PERUGINO 

THE   FLORENTINE    PERIOD 

THE   ROMAN    PERIOD 

RAPHAEL   AS   A   SCULPTOR 

RAPHAEL   AS   A    POET 

SELECTIONS   FROM    RAPHAEL'S   CORRESPONDENCE  .... 

CHRONOLOGICAL   CATALOGUE   OF   MADONNAS   AND    HOLY   FAMILIES    . 
CLASSIFIED   CATALOGUE   OF    RAPHAEL'S   OTHER   WORKS 


INDEX 


2  5 
2S 

31 
44 
60 
62 
63 
73 
76 
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LIST   OF    ILLUSTRATIONS. 


ORTRAIT   OF   RAPHAEL         .... 

From  the  Engraving  by  F.  Forster. 

HEADS   FROM    MADONNA    DI    SAN    SISTO 

From  the  Painting* 


I.  THE  MADONNA  DEL  GRAN  DUCA 


From  the  Painting, 


2.  THE  MADONNA  DEL  CARDELLINO 

From  the  Engraving  by  A.  L.  Martinet. 

3.  THE   MADONNA   DELLA   TEMPI 


From  the  Engraving  by  S.  Jesi. 


Frontispiece. 

Page 


14 


.     16 


18 


4.  THE    MADONNA   OF  THE   ORLEANS   GALLERY 20 


5.  THE   HOLY   FAMILY   OF   THE    CANIGIANI    FAMILY    . 

From  the  Engraving  by  S.  Amsler. 

6.  THE    HOLY   FAMILY   WITH   JESUS   SEATED   ON   A   LAMB 

From  the  Engraving  by  G.  Garavaglia. 

7.  THE   MADONNA   DELLA   CASA   NICCOLINI    (large  Cowper) 

From  the  Engraving  by  A.  Perfetti. 

8.  LA   BELLE   JARDINIERE 

From  the  Engraving  by  L.  A.  B.  Desnoyers. 


24 


32 


io  List  of  Illustrations. 


Page. 

9.  THE    MADONNA   DEL   BALDACCHINO  ...........     36 

From  the  Engraving  by  B.  A.  NICOLLET. 

10.  THE   MADONNA   OF   THE   ALBA   FAMILY .40 

From  the  Engraving  by  L.  A.  B.  Desnoyers. 

11.  THE   MADONNA   OF   THE   ALDOBRANDINI   FAMILY         .......     44 

From  the  Engraving  by  F.  E.  A.  BRIDOUX. 

12.  THE    MADONNA   OF  THE    DIADEM .    48 

From  the  Engraving  by  L.  A.  B.  Desnoyers. 

13.  THE    MADONNA    DI   FOLIGNO 52 

From  the  Engraving  by  L.  A.  B.  Desnoyers. 

14.  THE   MADONNA   OF   THE    BRIDGEWATER   GALLERY       .......     54 

From  the  Engraving  by  C.  L.  LoRICHON. 

15.  THE    MADONNA   DEL   PESCE 60 

From  the  Engraving  by  L.  A.  B.  Desnoyers. 

16.  THE   MADONNA   DELLA   SEDIA 64 

From  the  Painting. 

17.  THE    MADONNA   WITH   THE   CANDELABRA ...     68 

From  the  Engraving  by  F.  E.  A.  Bridoux. 

18.  THE    HOLY   FAMILY    CALLED   THE    PEARL .     72 

From  the  Engraving  by  N.  LECOMTE. 

19.  THE    LARGE    HOLY   FAMILY   OF   THE    LOUVRE         ........     76 

From  the  Engraving  by  J.  T.  RlCHOMME. 

20.  THE    MADONNA   DI   SAN   SISTO 80 

From  the  Engraving  by  M.  Steinla. 


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jHE  earliest  ancestor  of  Raphael  Santi,  of  whom  we  have  any  record, 
was  one  Sante,  who  lived  at  Colbordolo,  a  small  town  upon  the 
summit  of  a  mountain  in  the  ancient  Duchy  of  Urbino,  in  the 
beginning  of  the  fourteenth  century.  Sante  had  a  son  Piero,  or 
Pietro,  who  became  the  father  of  two  sons,  named  Luca  and  Peruzzolo.  The  latter 
had  one  son,  to  whom  he  gave  the  baptismal  name  of  Sante.  Suffering  misfortunes 
at  Colbordolo,  Peruzzolo  removed  to  Urbino  in  1450,  where  he  died  in  1457. 
His  son  Sante  married,  and  had  two  sons  and  two  daughters,  —  Giovanni  and 
Bartolommeo,  Margherita  and  Santa.  About  1464  he  purchased  the  house  in  the 
Contrada  del  Monte,  at  Urbino,  which  is  now  famous  as  the  birthplace  of  Raphael. 
From  this  time  the  family  name  was  commonly  written  Santi.  The  date  of  Giovanni's 
birth  is  not  known ;  and  we  have  no  means  of  tracing  the  circumstances  of  his 
early  life,  or  the  growth  of  that  taste  which  led  him  to  choose  for  a  career  what 
he  termed  "  the  admirable  art  of  painting."  No  doubt  the  picturesque  scenery 
for  which  Urbino  is  so  remarkable  contributed  its  share  towards  the  development 
of  this  taste.  Federigo,  Duke  of  Urbino,  a  friend  and  patron  of  artists,  possessed 
a  valuable  collection  of  paintings  and  other  works  of  art ;  and  his  relation  with  his 
people  was  of  the  most  familiar  and  paternal  character:  it  may  be  supposed  that 
these  circumstances  also  aided  in  the  development  of  the  young  man's  talent.     The 

"3 


1 4  Raphael. 

duke  transformed  the  Castle  of  Urbino  into  a  magnificent  palace,  in  the  decoration 
of  which  various  artists  were  employed  ;  and  Giovanni  probably  became  familiar  with 
the  best  art  of  the  time,  though  we  do  not  know  who  instructed  him,  or  how  early 
he  became  an  established  painter.  He  appears  to  have  been  a  poet  also,  and  in  his 
verses  are  eulogized  many  of  the  painters  of  the  time.  The  pictures  of  Giovanni 
Santi  have  generally  been  slightly  esteemed,  but,  judged  by  the  best  examples 
which  are  in  existence,  he  was  an  artist  of  pure  taste,  and  at  times  gave  glimpses 
of  beauty  which  would  seem  to  be  a  foretaste  of  the  future  creations  of  his  more 
gifted  son.  In  his  children's  heads,  particularly,  may  be  traced  a  resemblance  to 
those  of  Raphael.  Though  not  a  genius  of  the  highest  order,  it  has  been  proved 
that  he  contributed  in  no  small  degree  to  the  development  of  the  art  of  his  time  ; 
and  the  reflection  from  the  brilliant  career  of  his  son  is  no  longer  the  only  light 
which  history  sheds  upon  his  name.  Of  his  earlier  works  but  little  is  known.  An 
altar-piece,  painted  for  the  Church  of  the  Hospital  of  Santa  Croce,  representing  the 
Virgin  Enthroned,  with  saints,  is  to  be  seen  at  Fano.  A  picture  of  the  Salutation 
was  painted  for  the  Church  of  Santa  Maria  Nuova,  at  Fano.  In  the  Brera,  at 
Milan,  is  an  Annunciation  by  him.  In  the  Accademia  delle  Belle  Arti,  at  Urbino, 
are    a   number   of   his  pictures. 

Giovanni  established  himself  at  Urbino,  and  practised  both  painting  and  gilding. 
He  married  Magia  Ciarla,  the  daughter  of  a  merchant  of  Urbino;  and  in  14S3  their 
son  was  born,  who  was  christened  Raphael,  a  name  which  had  no  precedent  in 
the  family.  Giovanni  seems  to  have  had  the  most  tender  affection  for  his  family ; 
and  in  one  of  the  rooms  of  the  Casa  Santi  —  the  room  in  which  Raphael  was 
born,  it  is  said  —  is  preserved  one  of  his  frescos,  in  which  it  is  supposed  he  per- 
petuated the  features  of  his  wife  and  child.  Three  other  children  were  born  to 
Giovanni  and  Magia,  but  they  all  died  young;  and  in  1491  the  mother  died, 
leaving  desolate  the  home,  which  had  been  one  of  rare  happiness.  Giovanni 
soon  contracted  a  second  marriage  with  Bernardina,  the  daughter  of  a  gold- 
smith,  Pietro  di  Parte.  She  brought  to  her  husband  a  dowry  of  two  hundred 
florins,  but  she   seems   not    to    have  brought    to    his   home   the    gentleness  of  spirit 


Raphael.  1 5 


which  characterized  Magia.  In  1494  Giovanni  died;  and  die  little  Raphael  was 
left  to  the  care  of  his  stepmother  and  his  uncle,  Don  Bartolommeo,  whom  Gio- 
vanni had  appointed  his  guardian.  Bartolommeo  Santi  had  entered  the  church, 
and  at  a  later  period  was  dean  of  the  diocese  of  San  Donato.  The  home  of 
Raphael  was  now  rendered  most  unhappy  by  the  quarrels  of  his  stepmother  and 
uncle.  At  length  these  became  so  violent,  that  Bernardina  left  the  house  ;  and, 
Don  Bartolommeo  refusing  to  give  her  her  rights,  matters  had  to  be  settled 
at  the  clerical  tribunal.  At  this  sad  period  of  the  young  orphan's  life,  Raphael's 
uncle,  Simone  di  Battista  Ciarla,  interfered  in  his  behalf,  and  arranged  with  Don 
Bartolommeo  to  place  him  under  the  care  and  tuition  of  some  competent  painter. 
This  opportune  kindness  seems  never  to  have  been  forgotten,  for  Raphael  cher- 
ished   through    life    the    most    tender    and    filial    affection    for    his    maternal    uncle. 

Perugia,  the  ancient  Perusia,  is  situated  upon  the  heights  above  the  valley 
of  the  Tiber,  commanding  extensive  views  ;  and  its  whole  neighborhood  is  remarka- 
ble  for  some  of  the  most  charming  scenery  in  all  Italy.  A  little  west  of  the 
central  part  of  the  city  is  the  Via  Deliziosa,  on  the  sharp  ascent  of  a  hill  : 
here,  at  No.  iS,  is  a  two-storied  house,  the  home  of  Pietro  Perugino,  where 
the  master  lived  and  wrought,  and  to  which,  nearly  four  hundred  years  ago,  the 
little  Raphael  came  to  learn  to  be  a  painter.  Perugino  was  then  at  the  height 
of  his  fame.  He  was  an  artist  of  profound  religious  sentiment,  and  great  purity 
of  taste  :  to  these  qualities  were  added  uncommon  proficiency  in  perspective, 
and  vigorous  coloring.  In  his  studio,  surrounded  by  pupils,  many  of  whom  pos- 
sessed extraordinary  talents,  the  rare  genius  of  Raphael  was  happily  developed. 
His    progress    was    rapid,    and    he    began    early    to    assist    his    master. 

In  1500  Raphael  went  to  Citta  di  Castello,  where  he  received  his  first  orders  for 
painting  of  which  we  have  an  account.  The  commissions  were  for  a  banner  for  the 
Church  of  the  Trinita,  a  Crucifixion  for  the  Church  of  the  Dominicans,  and  the  Coro- 
nation of  the  Holy  Hermit,  Nicholas  of  Tolentino,  for  the  Church  of  the  Augustines. 

Returning  to  Perugia,  he  continued  to  labor  with  Perugino,  sometimes  assisting 
in  the  execution  of  the  master's  works,  and  occasionally  painting  his  own   composi- 


1 6  Raphael. 

tions.  Among  these  are  several  Madonnas,  which,  though  painted  in  the  manner 
of  Perugino,  are  characterized  by  a  more  delicate  sentiment,  and  a  finer  observa- 
tion of  nature.  To  the  same  period  belong  his  Coronation  of  the  Virgin,  a  large 
altar-piece  formerly  in  the  Church  of  the  Franciscans  at  Perugia  (now  in  the 
Vatican),  and  his  Vision  of  a  Knight  (now  in  the  English  National  Gallery).  The 
latter  is  a  small  picture,  which  the  artist  probably  painted  for  himself.  In  the 
young  knight,  who  lies  dreaming  in  the  shadow  of  the  laurel,  he  seems  to  have 
given  a  glimpse  of  his  own  struggles  and  triumph. 

In  1504  Raphael  left  the  school  of  Perugino.  In  the  same  year  he  painted 
the  Sposalizio,  or  Marriage  of  the  Virgin,  for  the  Church  of  the  Franciscans  at 
Citta  di  Castello.  It  is  an  imitation,  to  some  extent,  of  the  celebrated  Sposalizio 
which  Perugino  had  painted  a  few  years  earlier  for  the  cathedral  at  Perugia.  The 
temple  in  the  background  is  more  beautiful  in  its  architecture,  while  the  figures 
are  of  greater  individual  beauty,  and  are  more  gracefully  grouped.  (It  is  now  in 
the  Brera,  at  Milan.)  A  Saint  Sebastian,  a  small  picture  with  a  landscape 
background,  belongs  to  the  same  period. 

About  this  time  Raphael  visited  his  birthplace ;  and  at  the  court  of  Urbino 
he  made  the  acquaintance  of  several  persons  of  rank,  whose  influence  was  of 
value  to  him.  He  painted  for  the  duke  a  Christ  in  the  Garden  of  Gethsemane, 
and  the  two  graceful  little  pictures,  St.  George  and  St.  Michael,  now  in  the 
Louvre.  His  intercourse  at  Urbino,  no  doubt,  stimulated  his  desire  to  visit  Flor- 
ence, and  improve  himself  by  acquaintance  with  its  art  treasures.  Joanna  della 
Rovere,  sister  of  the  Duke  of  Urbino,  gave  the  young  artist  a  most  kind  and 
flattering  letter  of  introduction  to  Pietro  Soderini,  who  in  1502  had  been  elected 
Gonfaloniere  of  Florence.  In  the  autumn  of  the  year  1504  Raphael  made  his 
first  journey  to  Florence,  where  he  devoted  himself  chiefly  to  the  study  of  the 
works  of  Masaccio  and  of  Leonardo  da  Vinci.  His  subsequent  works  prove  that 
he  made  a  careful  study  of  the  frescos  with  which  Masaccio,  and,  later,  Filippino 
Lippi,  had  decorated  the  Brancacci  chapel  of  the  Carmelite  Church  at  Florence. 
The   influence  of   Leonardo    da  Vinci    is    also    to    be    traced,    and    various   drawings 


i.'»«*efesls£^s?~  -  '  "         Si^S83 


Raphael.  1 7 

are  in  existence  which  he  made  at  that  time  from  this  artist's  works.  This  was 
the  beginning  of  a  new  and  important  era  in  his  development,  when,  by  degrees, 
he  became  emancipated  from  the  style  of  the  early  masters.  His  works  became 
more  and  more  individual  in  character,  marked  by  a  greater  purity  of  style,  and 
a  more  delicate  and  finished  execution.  An  important  picture  of  this  transition 
period  is  the  Madonna  del  Gran  Duca,  which  combines  the  highest  excellences 
of  the  school  of  Perugino,  improved  by  the  superior  genius  and  elevated  taste  of 
its    pupil.     Several  other  Madonnas    belong   to    this    time. 

Raphael's  first  stay  in  Florence  was  short,  as  he  returned  to  Perugia  the 
following  year  (1505).  He  executed  various  large  pictures  for  the  churches  at 
Perugia,  and  painted  his  first  fresco  in  a  chapel  of  S.  Severe  The  latter  he 
left    incomplete,    and    it   was    finished    after   his    death,    by    Perugino. 

After  a  short  stay  in  Perugia,  Raphael  returned  to  Florence,  where  he  remained, 
the  greater  portion  of  the  time,  until  the  middle  of  the  year  1508.  His  talents 
could  not  fail  to  brinor  n;m  ;nto  marked  notice  during-  his  first  visit  there,  and 
on  his  return  he  was  joyfully  welcomed  by  his  friends  and  admirers.  He  was 
favorably  noticed  by  several  patrician  families,  and  received  orders  for  many  pic- 
tures. Among  these  are  several  of  his  favorite  subject,  the  Madonna  and  Child, 
and  a  number  of  interesting  portraits.  It  is  said,  that,  some  time  during  this 
period,  he  made  a  visit  to  Bologna,  to  which  city  he  may  have  been  attracted 
by  the  fame  of  the  painter  Francesco  Raibolini,  commonly  called  Francesco 
Francia.  A  strong  friendship  grew  up  between  him  and  Francia,  and  it  k, 
believed  that  they  executed  some  paintings  in  conjunction.  After  his  visit  to 
Bologna  he  again  spent  some  time  at  Urbino,  where  he  made  acquaintance 
with  some  of  the  most  learned  men  of  the  time ;  for  the  court  of  Urbino  was 
at  that  time  one  of  the  most  brilliant  of  the  smaller  courts  of  Italy.  During 
this  stay  he  painted  various  portraits  of  distinguished  personages  and  also  the 
fine  portrait  of  himself — probably  for  his  favorite  uncle,  Simone  di  Battista 
Ciarla  —  now  preserved  in  the  Florentine  Gallery.  He  painted  the  charming  pic- 
ture of  the  Three  Graces   (now  in  England)   for  some  one  at  the  court  of   Urbino. 


1 8  Raphael. 

The  remainder  of  Raphael's  Florentine  period  was  fruitful  in  important  works, 
and  the  Madonnas  and  Holy  Families  of  this  time  are  among  his  most  charming 
productions.  He  was  a  close  student  of  nature,  and  had  gradually  freed  himself 
from  the  trammels  of  his  early  education  in  art.  In  Florence  he  formed  an 
intimate  friendship  with  Fra  Bartolommeo  (Baccio  della  Porta),  the  painter  monk, 
who  had  been  a  devoted  disciple  of  Savonarola,  and  who,  overcome  with  sorrow 
at  the  execution  of  his  venerated  friend,  had  for  years  abandoned  his  easel.  It 
is  said  that  he  was  stimulated  to  resume  his  art  by  Raphael's  visit  to  Florence. 
The  works  of  Fra  Bartolommeo  are  characterized  by  a  gentle  dignity  and  grace, 
and  a  luminous  coloring ;  and  the  young  painter,  ready  to  appropriate  whatever 
he  met  with  that  commended  itself,  for  a  short  time  imitated  the  style  of  his 
new  friend.  The  Madonna  del  Baldacchino,  painted  at  this  time,  strikingly  resem- 
bles the  works  of  Fra  Bartolommeo. 

When  Raphael  had  reached  his  twenty-fifth  year,  his  fame  as  a  painter  was 
spreading  through  Italy.  About  the  middle  of  the  year  1508  he  was  invited  by 
Julius  II.  to  Rome,  whither  he  at  once  hastened.  In  1503  Julius  had  been  elected 
to  the  see  of  Rome  ;  and,  though  of  a  warlike  disposition,  he  was  a  distinguished 
patron  of  the  fine  arts.  Soon  after  his  accession  to  the  pontificate,  he  had  invited 
Michael  Angelo  to  Rome,  and  commissioned  him  to  build  his  mausoleum ;  and 
Donato  Lazzari,  called  Bramante,  had  been  appointed  pontifical  architect. 

This  epoch  in  the  life  of  Raphael  was  the  beginning  of  the  last  and  most 
important  phase  of  his  development  as  a  painter.  The  Pope  had  refused  to  take 
possession  of  the  apartments  in  the  Vatican  which  had  been  occupied  by  Alex- 
ander VI. ;  and,  the  stanze  in  the  upper  story  having  been  suggested  to  him, 
Raphael  was  summoned  to  continue  the  decoration,  which  had  already  been 
advanced  by  several  eminent  painters.  When  he  had  finished  his  first  fresco, 
the  satisfaction  of  the  Pope  was  so  great,  that  he  determined  to  have  all  the 
rooms  repainted  by  Raphael,  and  ordered  the  destruction  of  the  frescos  by  the 
earlier  masters.  A  few  by  II  Sodoma  (Gianantonio  Razzi)  and  by  Pietro  Peru- 
gino  were   allowed   to  remain. 


Raphael.  1 9 


These  works  gave  full  scope  to  the  powers  of  the  artist ;  and  they  not  only 
exhibit  the  loftiness  of  his  genius,  but  the  most  profound  thought  and  study. 
The  world  of  classic  art  was  now  open  to  him ;  and  he  was  also  stimulated  by 
the  works  of  Michael  Ans'elo,  who,  at  about  the  same  time,  be^an  the  decoration 
of  the  Sistine  Chapel.  It  is  said  that  the  young  painter  frequently  observed  that 
he  considered  himself  fortunate  to  have  lived  in  the  time  of  Michael  Angelo. 
There  have  been  stories  of  a  rivalry,  amounting  almost  to  enmity,  between  the 
two  artists ;  but  they  seem  to  have  no  foundation  in  truth,  and  are  now  generally 
discarded  as  unworthy  of  both.  Anecdotes  which  have  been  related  as  favoring 
such  a  belief  prove  rather  a  familiarity  of  intercourse  between  them,  and  there  are 
certainly  as  well  authenticated  records  of  their  mutual  admiration  and  kindness. 

The  frescos  with  which  Raphael  adorned  the  Stanze  and  Loggie  of  the 
Vatican  occupied  a  large  part  of  his  time  for  the  remainder  of  his  life,  and  were 
completed  by  his  pupils  after  his  death.  These  works  have  been  the  inspiration 
of  ages ;  and  though  now  so  faded  and  damaged,  and  in  many  portions  well-nigh 
destroyed,  they  are  still  a  world  of  marvels  to  both  artist  and  scholar. 

During  the  production  of  the  Vatican  frescos,  many  parts  -of  which  were  left 
to  his  pupils,  the  master  executed  numerous  other  commissions.  Among  his  easel- 
pictures  painted  during  the  first  three  years  of  his  residence  in  Rome,  are  several 
fine  portraits,  one  of  the  most  noteworthy  of  which  is  that  of  Julius  II.,  which  was 
placed  in  the  Church  of  Santa  Maria  del  Popolo.  The  Pope  is  seated  in  an  arm- 
chair, in  an  easy  attitude,  the  head  inclined  slightly  forward,  the  face  wearing  a 
thoughtful  and  benignant  expression,  his  white  beard  falling  upon  his  breast.  The 
original  is  in  the  Pitti  Palace  in  Florence,  but  there  are  various  copies  of  it.  A 
Holy  Family,  also  painted  for  the  Santa  Maria  del  Popolo,  was  produced  at  about 
the  same  time.  It  became  known  as  the  Madonna  di  Loreto,  for  the  reason  that 
it  was  afterwards  placed  in  the  church  at  Loreto.  There  are  numerous  copies  of 
it,  but  the  original  has  disappeared.  To  this  early  Roman  period,  also  belong  the 
Madonna  di  Foligno  and  the  Madonna  of  the  Alba  Family.  A  celebrated  picture 
of  this  period  is  that  known  as  the  "  Fornarina,"  in  the  Barberini  Gallery  in  Rome, 


20  Raphael. 

supposed  to  represent  the  mistress  of  Raphael.  It  has  been  the  subject  of  much 
dispute  and  speculation ;  and  though  generally  regarded  as  the  portrait  of  the 
young  Margherita,  to  whom,  Vasari  tells  us,  Raphael  was  attached,  and  for  whom 
he  provided  in  his  will,  nothing  certain  is  known  about  it.  The  title  of  La 
Fornarina  (baker's  daughter)  was  bestowed  upon  it  about  the  middle  of  the 
eighteenth  century.  A  portrait  of  a  beautiful  woman,  in  the  Tribune  of  the  Uffizi, 
in  Florence,  called  "  Raphael's  Mistress,"  has  been  supposed  to  represent  the  same 
person  at  a  later  period  of  life ;  but  this  seems  impossible  from  the  absence  of 
any  resemblance  between  them,  and  it  is  now  considered  doubtful  whether  the 
latter  is  even   by  the   hand   of  Raphael. 

The  death  of  Julius  II.  occurred  in  15 13;  but  the  labors  of  Raphael  were 
scarcely  interrupted,  for  Leo  X.  was  not  less  the  friend  and  patron  of  art.  The 
artist,  having  attained  wealth  and  position,  built  for  himself  a  house  on  the  Via  di 
Borgo  Nuova,  near  the  Vatican.  It  was  constructed  by  Bramante  from  Raphael's 
plans ;  and,  though  only  a  small  portion  of  the  building  now  remains,  the  simple 
elegance  of  its   structure   is   known   by  an   engraving. 

But  little  is  known  regarding  the  domestic  life  of  Raphael.  A  letter  from  his 
hand,  written  in  15 14,  states  that  Bernardo  Divizio  da  Bibiena,  with  whom  he  had 
formed  a  friendship  at  Urbino,  and  who  had  been  created  a  cardinal  by  Leo  X., 
offered  the  painter  the  hand  of  his  niece  Maria  in  marriage.  The  compact  for 
this  marriage  existed  for  years  ;  and  whether  Raphael  was  disinclined  to  the  alliance, 
or  whether  the  delicate  health  of  the  lady  prevented  its  consummation,  is  not 
known.  But  her  death  occurred  before  Raphael's,  and  an  inscription  to  her  memory 
has  a  place  upon  the  tomb  which  he  had  chosen  for  himself  in  the  Pantheon. 

Besides  the  marvellous  frescos  of  the  Vatican,  Raphael  executed,  by  order  of 
the  wealthy  banker  Agostino  Chigi,  frescos  for  the  churches  of  Santa  Maria  della 
Pace  and  of  Santa  Maria  del  Popolo.  For  the  Chigi  Palace  he  executed  his 
famous  fresco  of  Galatea.  Crowded  with  all  these  undertakings,  the  tireless  worker 
was  destined  to  be  still  further  taxed.  In  15 14  occurred  the  death  of  Bramante, 
the   architect  of   St.    Peter's.      He    had    before    his    death    recommended   Raphael    as 


Raphael.  2 1 

his  successor ;  and  the  appointment  was  formally  made.  The  model  which  Raphael 
designed  for  St.  Peter's  was  admired ;  and,  though  it  has  been  lost,  plans  and 
engravings  of  it  exist.  The  opinion  has  been  expressed,  that,  had  this  design 
been  realized,  the  effect  would  have  been  richer  and  of  greater  repose,  as  a  whole, 
than  that  of  Michael  Angelo.  Various  other  works  in  architecture  were  executed 
or  designed  by  Raphael.  The  court  of  San  Damaso  of  the  Vatican  was  built  from 
his  plans,  and  several  fine  dwellings  in  the  Borgo  San  Pietro,  which  were  after- 
wards destroyed  to  make  room  for  the   colonnades  of  St.  Peter's. 

From  time  to  time  Raphael  continued  to  represent  his  favorite  subject  of  the 
Madonna  and  Child ;  and,  though  always  noble  and  beautiful,  these  compositions 
are  characterized  by  the  greatest  variety  of  conception  and  treatment.  About  15 15 
he  painted  his  celebrated  altar-piece,  the  St.  Cecilia,  now  in  the  gallery  at  Bologna. 
The  figures  which  form  this  group  are  perhaps  the  most  remarkable  for  antique 
beauty  of  any  of  his    productions. 

While  the  later  frescos  in  the  Stanze  of  the  Vatican,  and  the  decorations 
of  the  Loggie,  were  in  progress,  Raphael  painted  his  famous  cartoons  for  the 
tapestries  intended  to  adorn  the  walls  of  the  Sistine  Chapel.  Seven  of  these 
superb  pictures  have  descended  to  us,  and  form  the  noblest  series  of  illustrations 
of  Christian  art  in  the  world.  (They  are  preserved  with  great  care  in  the  South 
Kensington  Museum  in  London.)  Besides  these  immense  undertakings,  he  exe- 
cuted altar-pieces  and  various  smaller  easel-pictures,  including  a  number  of  por- 
traits. Many  of  his  Holy  Families  and  Madonnas  belong  to  this  period,  among 
them  the  beautiful  Madonna  called  the  "  Pearl,"  and  the  Madonna  della  Sedia, 
which,  next  to  the  San  Sisto  Madonna,  is  the  most  universal  favorite.  The 
Madonna  with  the  Candelabra  (now  in  England)  also  belongs  to  this  Roman 
period.  In  15  iS  he  painted  the  Madonna  di  San  Sisto.  the  last  picture  of  this 
subject   which   he   painted,   and   the   most  beautiful   of  all. 

Raphael's  last  oil-painting,  and  in  some  respects  the  most  sublime  of  his 
creations,  was  the  Transfiguration,  painted,  by  order  of  Cardinal  Giulio  de'  Medici, 
for  the  Cathedral  of  Narbonne.      He  did   not,  however,  live  to  complete  it ;   and   it 


2  2  Raphael. 

was  destined  to  suffer,  to  some  extent,  from  the  inharmonious  work  of  his  assistants, 
and  from  the  worse  handling  of  late  "  restorers."  The  composition  is  divided  into 
two  entirely  distinct  parts  ;  yet  they  are  united  in  conveying  to  the  mind  one  great 
truth,  —  human  need  and  divine  power.  In  the  combination,  Raphael  has  been 
charged  with  overstepping  the  bounds  of  propriety,  and  committing  an  offence 
against  chronology,  by  representing  arbitrarily  the  action  of  two  different  moments. 
But  it  must  be  recollected,  that,  in  the  lower  part  of  the  picture,  he  has  repre- 
sented, not  the  cure  of  the  demoniac,  but  his  presentation  to  the  disciples  by  the 
afflicted  father,  in  the  hope  of  relief.  The  narrative  tells  us,  that,  when  Jesus  had 
come  down  from  the  Mount  of  Transfiguration,  the  father  came,  kneeling  down  to 
him,  and  saying,  "  I  brought  him  to  thy  disciples,  and  the)'  could  not  cure  him." 
There  is  nothing  which  hints  that  the  sad  scene  which  the  painter  has  represented 
might  not  have  taken  place  at  the  very  moment  when  Peter  and  James  and  John 
were  beholding  the  vision  of  the  transfigured  Saviour.  And  how  could  the  fact 
that  Jesus  was  the  Son  of  God,  and  the  Saviour  of  humanity,  be  more  vividly 
presented  than  by  portraying  the  heavenly  vision  upon  Mount  Tabor,  and,  at  the 
same  moment,  the  extremity  of  earthly  suffering  which  human  aid  is  powerless  to 
reach  ? 

During  the  last  years  of  Raphael's  life  he  was  much  occupied  in  researches 
among  the  Roman  ruins.  In  compliance  with  the  wishes  of  Leo  X.,  he  made 
drawings  of  the  ancient  buildings,  accompanying  them  with  careful  descriptions. 
He  did  not  restrict  himself  to  Rome  and  its  environs,  but  sent  artists  to  all  parts 
of  Italy  and  to  Greece  to  collect  studies  from  ancient  monuments.  But  this 
active  life  was  hastening  to  its  close.  In  the  midst  of  vast  undertakings,  and 
while,  no  doubt,  his  imagination  crowded  the  future  with  still  greater  achievements, 
he  was  suddenly  seized  with  a  fatal  fever,  contracted,  probably,  during  his  subter- 
ranean researches.  He  died  on  the  anniversary  of  his  birth,  April  6,  1520,  and 
was  buried  in  the  Pantheon,  where  he  had  some  time  before  chosen  his  tomb, 
causing  one  of  the  chapels  to  be  restored  for  the  purpose.  All  Italy  mourned 
for  her  gifted    son,   while    every  honor  was   paid    to    his    name  and  memory.      And 


■  ■    ■ 


Raphael.  23 


not  alone  to  art  was  the  loss  irreparable,  but  to  a  multitude  of  personal  friends, 
many  of  them  the  most  eminent  men  of  the  time,  whom  he  had  won  by  his  noble 
qualities  of  mind  and  heart.  The  stories  of  his  immorality  and  dissipation  which 
were  once  current  have  been  silenced  by  evidences  which  late  historians  have  put 
before  us,  though  the  number  and  character  of  his  works  should  be  a  sufficient 
refutation.  It  is  proved,  that,  in  the  midst  of  temptations  to  luxury  and  license, 
he  led  a  life  of  singular  purity  and  innocence,  that  he  was  "  better  than  his 
times." 

It  is  impossible  to  write  a  fitting  sketch  of  such  a  life.  His  immortal  works 
are  the  fittest  record  of  his  life  ;  and  in  these  can  his  character  best  be  studied. 
The  biographer  can  give  the  date  of  his  birth  and  of  his  death,  and  an  outline 
of  the  circumstances  of  his  life :  but  it  is  in  his  matchless  creations  alone  that 
we  can  really  know  and  estimate  the  man  ;  these  are  his  true  history  and  his 
enduring    monument. 


"  ~'    '    "  g  r  .J^^l^-r1-    -!-    -'-    -I-    ■!-    -'-    -1- -^-.^.^^l^^^ag 


MADONNAS  AND  HOLY  FAMILIES. 


N  all  Italy  there  is  scarcely  a  town  which  presents  more  strikingly  the 
aspect  of  desolation  and  departed  grandeur  than  Urbino.  The 
churches,  the  houses,  the  streets,  seem  deserted,  and  in  dreary 
harmony  with  the  bare  and  barren  hills  which  surround  the  city. 
The  vast  palace  —  now  unused,  or  used  for  humble  purposes  —  shows  only  here 
and  there  fragments  of  the  exquisite  decorations  which  made  it  famous  in  the 
prosperous  days  of  the  province,  when  this  was  one  of  the  most  brilliant  courts 
of  Europe.  Yet  this  desolate  spot  is  visited  with  veneration  by  travellers  from 
all  lands,  not  for  its  bygone  splendor,  but  because  it  was  the  birthplace  of  the 
most   beloved    painter   of  all    ages,    Raphael  Saxti. 

On  the  steep  hillside  rising  from  the  market-place,  in  the  Contrada  del  Monte, 
now  called  Contrada  Raffaello,  stands  the  house  purchased  by  the  grandfather  of 
Raphael  in  1464.  Giovanni  Santi,  in  a  communication  to  the  Duke  of  Urbino,  tells 
sadly  of  the  destruction  of  the  "  home  nest "  at  Colbordolo  by  the  followers  of 
the  tyrant  Sigismund  Malatesta,  and  of  the  removal  of  the  family  to  the  compara- 
tive security  of  Urbino.  In  the  course  of  years,  by  patient  labor  and  thrift,  they 
became  possessed  of  the  property  in  the  Contrada  del  Monte,  which  remained  for 
generations  in  the  family.  It  was  a  modest  dwelling,  the  basement  of  which  was 
used    as    a    shop.     In   the  seventeenth  century  an  architect  of   Urbino,  Muzio  Oddi, 


26  Raphael. 

who    became    proprietor    of  a    portion    of   the    building,    placed    upon    the  wall    the 
following  commemorative  inscription  :  — 

NVNQVAM     MORITVRVS 

EXIGVIS     HISCE     IN     /EDIBVS 

EXIMIVS     ILLE     PICTOR 

RAPHAEL 

NATVS     EST 

OCT.     ID.     APR.     AN. 

MCDXXCIII 

VENERARE     IGITVR     HOSPES 

NOMEN    ET    GENIVM     LOCI 

NE     MIRERE 

LVDIT       IN       HVMANIS       DIVINA       POTENTIA       REBVS 

ET    S/EPE    IN    PARVIS    CLAVDERE    MAGNA    SOLET. 

In  1S73  the  Casa  da  Raffacllo  became  the  property  of  the  Academy  of 
Urbino.  The  interior,  we  may  suppose,  is  as  it  was  in  the  childhood  of  Raphael  ; 
and  the  room  in  which  he  was  born,  a  large  apartment  with  brick  floor  and 
panelled  ceiling,  has  lately  been  furnished  in  the  style  of  that  time,  and  deco- 
rated with  prints  and  photographs  from  his  pictures.  In  this  room  is  the  faded 
fresco,  once  called  a  Madonna  and  Child,  in  which  Giovanni  Santi  represented  his 
wife  Magia  and  the  infant  Raphael.  The  young  mother  is  seated,  reading  a  book, 
which  is  before  her  on  a  sort  of  reading-desk,  the  child  on  her  lap  asleep,  his 
head  resting  on  his  crossed  arms.  There  are  no  halos  around  the  heads,  which 
would  indicate  that  it  was  not  intended  to  represent  the  Virgin  and  Infant  Jesus. 
This  touching  picture  was  no  doubt  the  earliest  one  familiar  to  the  childish  eyes 
of  Raphael ;  and  it  is  an  affecting  reminder  that  all  his  life  the  subject  he  loved 
best  to  portray  was  the  tender  mother-love  he  so  early  lost.  In  his  father's  studio 
he  early  became  familiar  with  the  representations  of  the  Virgin  and  Child  in  the 
altar-pieces  which  Giovanni  constantly  painted ;  and  some  of  these  seem  the  pre- 
cursors   of    those    of    Raphael.       For    one    of    the    churches    of    Umbria,    Giovanni 


Madonnas  and  Holy  Families.  27 

painted  a  Madonna  and  Child,  in  which  die  Child  is  holding  a  captive  bird  with 
one  hand,  while  he  raises  the  other  in  benediction.  These  early  impressions  were 
perhaps  the  germs  which  expanded  into  the  living  beauty  of  Raphael's  productions 
in  his  manhood.  He  owed  much  to  his  father,  it  is  evident ;  for  he  did  not 
receive  such  impressions  from  his  master.  Perugino,  though  always  exhibiting  a 
lofty    religious    sentiment,    never   portrayed   any    excessive    human    affection. 

In  all  Raphael's  representations,  there  is  something  intensely  human  ;  and  for 
this  reason  alone  his  power  over  humanity  could  never  diminish.  In  the  quality 
of  expression  and  in  the  reflection  of  human  feelings,  his  works  have  never  been 
equalled ;  and  especially  in  those  of  his  earliest  and  of  his  latest,  or  Roman, 
period,    there    is    not    wanting   a    fervent   religious    feeling. 

It  was  in  his  Madonnas  and  Holy  Families  that  his  peculiar  powers  found 
their  highest  development,  notwithstanding  the  great  works  upon  which  he  was 
employed  in  Rome.  From  the  earliest  period  of  his  artistdife  he  was  most  fond 
of  this  class  of  subjects,  and  his  productions  are  manifold  in  number  and  variety. 
They  charm  by  their  portrayal  of  the  tenderest  relations  of  life,  while  they  lift 
the  thoughts  to  something  yet  higher  and  holier.  Mary  is  not  only  the  fond 
mother,  but  the  one  "blessed  among  women,"  consecrated  by  the  deepest  joys 
and  sorrows;  and  the  Divine  Child  not  only  represents  the  beauty  and  innocence 
of  childhood,  but  there  is  something  in  the  look  which  expresses  a  conscious- 
ness of  his  sacred  mission.  And  in  all  his  representations  Raphael  never  repeated 
himself:  each  one  has  the  freshness  of  a  new  creation,  and  brings  to  the  spectator 
something  of  the  delight  with  which  the  artist  wrought  out  the  emotions  of  his 
heart  and  the  visions  of  his  fancy.  And  not  in  his  finished  pictures  alone  are 
shown  his  versatility  and  ceaseless  industry :  numberless  drawings  and  sketches 
are  in  existence  showing  the  variety  of  ideas  which  crowded  his  brain,  and  the 
painstaking  preliminary  study  he  gave  to  ever}-  composition  he  produced.  They 
are  of  vast  interest  as  a  clew  to  the  intricate  processes  of  his  mind,  and  many 
of   them   have    almost    the    charm    of    his    finished   works. 


?">">     '     '     '     r     '    s    y~  V     .f"x<-y^yyyxy>xyy     ^~>     >     r     r    s     '     '    s     *    S  *     >     .■  *>     > — >     y    ,    °i    ^= ,  ~T  f    ,    >    .- T>-   >   i 


"-_:'"' ...     _> "  ...     .._    .....    v    v    -i-    s-r    v>    ->"  ^"  ■-:•-■    -v-    -:■     -.-    -.•-    <•:-    v-    -.-    ■:-    s>    -.»    s-< 


6^"~" ^     ^     ^ 


■^^P 


PAINTED  UNDER  PERUGINO. 


THE  MADONNA  OF  THE  SOLLY  COLLECTION. 

APHAEL  painted  this  picture  while  he  was  almost  wholly  under  the 
influence  of  his  master.  At  this  period  he  either  copied  the  pic- 
tures of  Perugino  with  slight  variation,  or  painted  his  own  com- 
positions almost  entirely  in  the  style  of  his  master,  and  according 
to  the  traditions  of  the  early  schools ;  although  they  show  a  finer  observation  of 
nature,  and  a  tinge  of  the  individuality  which  soon  became  so  marked.  In  this 
picture  the  Virgin  is  seated,  reading :  the  Child  on  her  lap,  in  a  somewhat  affected 
attitude,  one  foot  resting  in  her  hand,  looks  up  at  the  book,  holding  a  goldfinch 
with  his  left  hand,  and  the  string  which  fastens  the  bird  with  his  right.  The 
attitude  of  the  Virgin  is  simple  and  unaffected,  and  her  face  has  an  expression 
of  repose.  The  features  are  very  small :  the  hands  are  large,  and  not  tapering 
in  shape.  The  Child  is  not  beautiful :  he  is  stout  in  form,  with  a  round  head. 
Upon  the  left  shoulder  of  the  Virgin  is  a  golden  star  upon  the  blue  ground  of 
her  mantle,  following  the  traditional  style  of  decoration  in  the  art  of  the  primi- 
tive Church.  A  sketch  resembling  this  picture,  in  the  Louvre,  is  of  a  more 
graceful  conception.  The  Virgin  has  a  more  thoughtful  expression  ;  and  the  Child 
is  looking  downwards,  instead  of  at  the  book.  The  picture,  formerly  in  the  Solly 
Collection    in    London,    is    now    in    the    Museum    of   Berlin. 


Painted   on   wood.     Height    24^   inches,   width    16    inches. 
2S 


Madonnas  and  Holy  Families.  29 

THE    MADONNA    OF    THE    COUNTESS    ALFANI. 

The  Virgin,  in  profile,  is  holding  the  Child  with  both  hands  as  he  stands 
upon  her  lap,  clinging  with  the  right  hand  to  a  thin  veil  which  covers  her 
breast.  The  face  of  the  Child  wears  a  sweet  expression  as  he  looks  towards  the 
spectator.  Above  are  painted  two  cherub  heads.  This  is  according  to  the  custom 
of  Giovanni  Santi  ;  and  in  these  early  works  of  Raphael  may  be  traced  other 
reminiscences  of  his  father's  manner.  This  picture  is  animated  by  a  very  pleasing 
sentiment,  and  is  of  a  peculiar  finish,  though  still  showing  strongly  the  influence 
of  Perugino.  It  was  formerly  in  the  house  of  the  Countess  Anna  Alfani,  at 
Perugia :  it  is  now  at  Terni,  in  the  possession  of  the  Countess  Beatrice  Fabrizi, 
heiress    of   the    Countess    Alfani. 

Painted   on   wood.     Height    19!   inches,   width    13    inches. 


THE    MADONNA    WITH    SS.    JEROME    AND    FRANCIS. 

The  Virgin  is  seated,  holding  the  Child  on  a  richly  embroidered  cushion  on 
her  knees,  and  looking  at  him  with  an  expression  of  the  deepest  feeling ;  while 
he,  clasping  his  mother's  hand  with  his  left,  is  raising  the  right  hand  in  bene- 
diction. The  Virgin  has  a  mantle  drawn  over  her  head,  under  which  is  a  white 
veil  covering  the  hair,  recalling  the  Virgins  of  the  early  centuries  of  Christianity : 
the  gold  ornaments,  too,  recall  the  Byzantine  style.  Like  the  Solly  Madonna,  the 
large  golden  star  is  on  the  left  shoulder.  St.  Jerome  is  kneeling  at  the  left,  and 
St.  Francis  at  the  right :  in  the  distance  is  a  town  at  the  foot  of  a  high  moun- 
tain. This  is  a  picture  of  very  careful  finish  and  of  rich  coloring.  The  heads 
of  the  two  saints  are  excellent,  and  the  general  arrangement  of  the  composition 
is  agreeable.  The  picture  has  changed  hands  several  times,  but  since  1820  it 
has    been    in    the    Berlin    Museum. 

Painted   on   wood.     Height  14    inches,    width    11 J   inches. 


I  o  Raphael. 


THE    MADONNA    OF    COUNT    STAFFA. 

ALSO  KNOWN  AS  THE  "MADONNA   OF  THE  CONESTABILE." 

The  Virgin  (a  half-figure)  stands  in  a  landscape,  reading  in  a  little  book, 
which  the  Child  in  her  arms  also  grasps.  It  is  early  spring-time.  The  trees  are 
still  bare,  and  the  distant  mountains  are  covered  with  snow.  The  expression  of 
the  Virgin,  in  face  and  attitude,  shows  a  remarkable  development  of  the  artist's 
powers ;  and  the  Child  is  lovely.  The  picture  is  circular ;  but  the  four  angles 
of  the  square  panel  are  of  a  black  ground,  ornamented  with  arabesque  figures  in 
red.  Such  ornaments  are  not  met  with  later  in  Raphael's  works.  A  study  for 
this  Madonna  is  in  the  Berlin  Museum.  It  represents  the  Virgin  standing  in  a 
landscape :  a  veil  covers  her  forehead  and  hair,  over  which  a  mantle  is  drawn. 
She  is  sustaining  the  Infant  with  her  left  hand,  and  holding  a  pomegranate  in 
her  right  hand,  with  which  he  is  playing.  The  picture  was  painted  for  Count 
Staffa,  and  was  an  heirloom  in  the  family  at  Perugia,  preserved  in  the  house 
of  the  Conestabile  della  Staffa.  In  187 1  it  was  sold  by  Count  Scipione  Cones- 
tabile  to  the  Empress  of  Russia.  The  panel  upon  which  it  was  painted  became 
cracked  after  its  removal  to  St.  Petersburg,  and  it  was  transferred  to  canvas  by 
the  artist  Sidoroff.  In  the  process  it  was  discovered  that  the  picture  had  originally 
been  drawn  upon  the  panel  according  to  the  cartoon  at  Berlin :  the  outline  of 
the    hand    and    the    pomegranate    could   be    seen. 

Painted    on   wood,    afterwards   transferred    to    canvas.     6f   inches   square. 

THE    MADONNA    OF    THE    DIOTALEVI     FAMILY. 

This  picture,  painted  in  the  early  manner  of  Raphael,  represents  the  Virgin 
seated,  holding  the  Child  upon  her  left  knee,  and  looking  down  upon  the  little 
St.  John,  who  is  partly  visible  at  the  right.  This  is  the  last  of  Raphael's  paint- 
ings of  this  subject  which  show  a  marked  dependence  upon  the  style  of  his 
master.  It  was  long  in  the  Diotalevi  family  of  Rimini,  and  was  formerly  attrib- 
uted   to    Peruoqno.      It    is    now    in    the    Berlin  Museum. 

Painted   on   wood.     Height   27-J-   inches,   width    19 J   inches. 


agggw-^...^...™.. 


«*.  .^.  .^^■FtSKRf^s.  ..«-., 


\^& 


:'■'.  :, 


i_.  ^   "   "-C   i*"*         c  J'      '"^   5f  '     '"Vi  ir"     'C>''     '^L'&~*     -X:   ^>""     '   ■ii*'"'     '   *-    >"*     "" 


■  «:  -j  -•'  'a  >j  ■    ■  <  j    ,  _  .        '■  -   ■'     -.  ^    ■ ,   .   \.  ■_.  -   ■;»'   "flXS™  «fis"   "«(r      ti"'  - 


--^oV 


THE  FLORENTINE  PERIOD. 


THE  MADONNA  DEL  GRAN  DUCA. 


jMONG  the  earliest  pictures  painted  in  Florence  is  the  Gran  Duca. 
The  Virgin  is  standing,  holding  the  Infant  on  her  left  arm :  the 
Child  is  looking  towards  the  spectator,  and  resting-  his  right  hand 
upon  his  mother's  breast.  This  picture,  while  still  resembling  the 
style  of  Perugino,  is  strongly  marked  by  Raphael's  own  genius,  and  possesses  a 
charm  which  is  wanting  in  all  his  previous  Madonnas.  The  figure  of  the  Virgin, 
in  a  blue  mantle,  stands  out  distinctly  against  the  background.  Her  gentle  face 
wears  a  look  of  pensive  meditation  mingled  with  the  most  tender  maternal  affec- 
tion. The  sweet,  penetrating  expression  upon  the  Child's  face  recalls  the  look 
which  shines  forth  from  the  face  of  the  Infant  of  the  Sistine  Madonna.  There 
is  a  freedom  and  beauty  in  this  representation  that  is  entirely  unknown  in  the 
productions  of  the  Umbrian  school,  and  the  coloring  is  clear  and  brilliant.  The 
Virgin  is  not  less  modest  and  chaste  than  those  of  the  early  types,  and  the  air 
of  devoutness  is  not  less  accented ;  but  there  is  a  greatly  increased  individuality, 
and  the  Child  has  a  fulness  of  life,  a  grace  and  ease,  which  are  quite  new.  A 
number  of  sketches  evidently  relating  to  this  Madonna  show  the  care  and  feeling 
with    which    it    was    produced. 

Not    much    is    known    of    the    history   of    this    picture,    except    that    it    once 

31 


3  2  Raphael. 


belonged  to  the  painter  Carlo  Dolce,  and  was  bought  in  1799  by  Ferdinand 
III.,  Grand  Duke  of  Tuscany:  hence  its  present  title.  The  grand  duke  became 
so  much  attached  to  it  that  he  carried  it  with  him  in  all  his  travels,  and  it 
was  his  companion  in  exile.  Since  1859  it  has  been  in  the  Pitti  Gallery  in 
Florence. 

Painted   on   wood.     Height    27^   inches,   width    21  \   inches. 


THE  MADONNA  OF  THE  DUKES  OF  TERRANUOVA. 

The  Virgin  is  seated  in  a  landscape,  with  the  Child  on  her  lap :  St.  John 
on  the  left  is  looking  up  at  him,  and  offering  a  scroll,  on  which  is  written, 
"  Ecce  Amines  Dei!"  A  third  child,  with  a  halo  around  his  head,  leans  against 
the  Virgin.  In  this  group  are  combined  the  tenderness  of  the  early  style  with  the 
freedom  of  the  new.  On  the  left  is  represented  a  bowlder,  and  in  the  distance  is 
a  walled  town  with  spires.  Until  1854  this  picture  remained  in  the  possession  of 
the  dukes  of  Terranuova  at  Genoa  and  at  Naples,  when  it  was  purchased  for  the 
Museum    of   Berlin. 

Painted   on   wood.     Circular,   35    inches   in   diameter. 


THE    MADONNA   OF    LORD    COWPER. 

This  picture  is  sometimes  designated  as  "  The  Small  Madonna  of  Lord 
Cowper,"  as  there  are  two  in  the  same  collection.  It  is  a  composition  of  much 
simplicity  and  spontaneous  feeling.  The  Virgin  is  seated  in  profile  view,  near 
a  wall,  holding  the  Child,  who  is  resting  one  foot  in  her  outspread  palm,  and 
clinging  to  her  with  both  hands.  The  face  of  the  Madonna  is  expressive  of 
great  maternal  tenderness,  and  the  movement  of  the  Infant  Jesus  is  natural  and 
of  infantine  grace.  There  is  a  landscape  background ;  in  the  distance  a  church 
with    dome    and    campanile.     The    execution    is    of    extreme    lightness.     The    picture 


Madonnas  and  Holy  Families.  3? 


o 


was  preserved   at    Urbino    until    purchased    by   Lord    Cowper  while    English   ambas- 
sador  at    the    court    of    Tuscany.     It   is    in    his    collection    at    Panshanger. 

Painted  on   wood.     Height    25^   inches,    width    18    inches. 


THE    MADONNA    OF    ST.    ANTHONY. 

This  was  an  altar-piece  painted  for  the  Convent  of  S.  Antonio  at  Perugia, 
of  which  the  central  picture  is  a  representation  of  the  Madonna  and  Child. 
The  Virgin  is  seated,  holding  the  Infant  Christ,  upon  a  throne,  with  a  canopy 
above.  The  young  St.  John  is  upon  the  steps  of  the  throne,  in  the  attitude  of 
worship ;  and  the  Child  is  raising  his  right  hand  in  benediction.  Upon  the  left 
stand  Ste.  Catherine  and  St.  Peter ;  upon  the  right,  Ste.  Margaret  and  St.  Paul. 
The  work  consisted  also  of  a  lunette  and  predella  pictures.  The  vestments  of 
the  Virgin  are  after  the  old  Umbrian  style  ;  and  in  various  ways  the  composi- 
tion and  execution  indicate  that  it  was  commenced  under  the  Peruginesque  influ- 
ence, and  finished  in  the  Florentine  period.  It  is  now  in  the  National  Gallery 
in    London. 

Painted   on   wood.     Figures   two-thirds   the    size    of    life. 


THE    MADONNA    OF    THE    ANSIDEI     FAMILY. 

This  is  a  large  altar-piece  with  full-length  figures  rather  less  than  life-size. 
The  Virgin,  enthroned,  is  holding  the  Child,  and  reading;  in  a  book,  at  which 
he  also  gazes  intently.  At  the  left  is  St.  John  the  Baptist,  represented  at  the 
age  of  manhood,  pointing  toward  the  Saviour  with  the  right  hand,  and  holding 
the  cross  with  the  left.  Upon  the  other  side  is  Bishop  Nicholas  de  Bari,  reading 
the  Scriptures.  It  is  a  picture  of  exceeding  beauty  and  repose.  It  was  executed 
for  the  Ansidei  family,  to  be  placed  in  the  Chapel  of  St.  Nicholas  in  the 
Church   of   S.    Fiorenzo    at    Perugia.     The    picture   was    purchased   from   the    Church 


34  Raphael. 

of  S.  Fiorenzo  by  Lord  Robert  Spenser ;  and  a  copy  was  put  in  its  place,  which 
is  still  to  be  seen  there.  Lord  Spenser  presented  it  to  his  brother,  the  Duke 
of  Marlborough ;  and  it  is  now  at  Blenheim.  Its  predella  pictures,  representing 
scenes    from    the    life    of   St.    John,    are    in    different    collections. 


THE    MADONNA   DEL   CARDELLINO    (MADONNA   WITH   THE   GOLDFINCH). 

This  delightful  picture  was  painted  for  Lorenzo  Nasi,  a  patrician  of  Florence, 
a  warm  friend  and  admirer  of  Raphael.  Vasari  tells  us  that  it  was  intended  for 
the  weddincr  of  his  friend.  The  figures  are  full-length,  half  life-size.  The  Virgin 
is  seated,  holding  a  book,  and  looking  down  with  loving  seriousness  at  St.  John, 
who  is  offering  a  goldfinch  to  the  Infant  Saviour,  who  places  one  hand  over 
it  with  a  very  tender  and  protecting  gesture.  The  restful  pose  of  the  Infant 
Christ  is  in  marked  contrast  with  the  eager,  impulsive  attitude  and  expression 
of  St.  John.  All  three  figures  are  beautiful,  and  full  of  expression ;  and  it  is  a 
scene  of  perfect  happiness.  The  head  of  the  Virgin  has  a  classic  grace,  and 
the  features  are  of  the  purest  beauty.  The  composition  of  the  group  is  in  the 
pyramidal  iorm,  according  to  the  precepts  and  practice  of  the  Florentine  artists. 
A  charming  landscape  forms  the  setting.  The  flowers  in  the  foreground  are 
chiefly  white,  perhaps  because  it  was  a  wedding-picture.  In  the  distance  is  the 
city  of  Florence,  in  which  the  campanile  and  the  dome  of  the  cathedral  are 
conspicuous. 

The  picture  was  crushed  by  the  falling  of  the  Nasi  Palace,  in  1547,  into 
many  pieces ;  but  they  were  joined  together,  and  the  picture  was  restored,  with 
marvellous  skill.  It  is  now  among  the  gems  of  art  in  the  Tribune  of  the  Uffizi 
at    Florence. 

Painted   on   wood.     Height   39!-   inches,   width    31    inches. 


Madonnas  and  Holy  Families.  35 

THE    MADONNA    IN    THE    MEADOW. 

ALSO    CALLED    THE   "MADONNA    AL    VERDE." 

This  is  named  from  the  flower-sprinkled  meadow  in  the  foreground.  The 
Virgin  is  seated,  supporting  the  Infant  Christ,  who  is  standing  before  her.  The 
little  St.  John  is  kneeling  at  her  side,  and  offering  a  reed  cross  to  the  Saviour, 
who  grasps  it  in  his  right  hand,  and  looks  with  a  grave,  sweet  expression  upon 
the  donor.  The  two  children  are  most  lifelike  in  air  and  movement.  It  resem- 
bles the  Madonna  del  Cardellino  in  many  points,  and  the  arrangement  is  of  even 
greater  symmetry.  In  the  far-off  distance  is  a  lake  with  hills :  at  the  right  is  a 
town.  The  picture  was  painted  for  Taddeo  Taddei,  a  wealthy  Florentine.  It  was 
sold  by  the  Taddei  family  to  Ferdinand,  Archduke  of  Austria;  in  1773  it  passed 
into    the    Imperial    Collection,   the    Belvedere    at   Vienna,    where    it    remains. 

Painted   on   wood.      Height   44J   inches,   width   34^   inches. 


THE    HOLY    FAMILY    UNDER    THE    PALM-TREE. 

This  is  one  of  Raphael's  earliest  Holy  Families,  and  in  conception  and  execu- 
tion there  are  reminiscences  of  the  school  of  Perugino.  It  was  also  painted  for 
his  patron,  Taddeo  Taddei.  The  Virgin  is  seated  under  a  palm-tree,  holding  the 
Child  upon  her  knees.  Joseph  is  kneeling  before  them,  offering  clusters  of 
flowers  to  the  Child,  who  stretches  out  both  hands  to  receive  them.  The  face 
of  the  Infant  Christ  is  of  great  sweetness ;  and  the  figure  of  Joseph,  smiling  and 
benignant,  is  a  fine  study.  The  picture  has  seen  many  vicissitudes,  and  is  now 
in    the    Bridgewater    Gallery    in    London. 

Painted   on   wood,    afterwards  transferred   to   canvas.     Circular,    42J   inches   in   diameter. 


Raphael. 


THE    HOLY    FAMILY    WITH    THE    BEARDLESS    ST.    JOSEPH. 

SOMETIMES   CALLED   THE  -MADONNA   OF  ST.   PETERSBURG:'   OR   -HOLY  FAMILY  OF  ST.    PETERSBURG." 

This  group  is  very  similar  to  the  one  last  described,  and  was  probably 
painted  at  about  the  same  time.  The  group  is  represented  in  a  palace :  the 
Virgin  bends  over  the  Child,  holding  his  left  loot  in  her  hand,  while  he  clings 
to  her  with  one  hand,  resting  the  other  on  her  lap.  St.  Joseph,  at  the  left, 
leaning  on  his  staff,  is  the  counterpart  of  that  personage  in  the  Holv  Family 
under  the  Palm-Tree,  except  that  he  is  here  represented  with  no  beard.  A 
landscape  is  seen  through  an  arched  -window.  The  picture  has  been  considera- 
bly   injured.     It    is    now    at    St.    Petersburg. 

Painted    on   wood.      Height    27    inches,    width    21 J   inches. 

THE    MADONNA    DELLA    TEMPI. 

This  valuable  picture  was  long  neglected,  and  covered  with  dust,  in  the  Casa 
Tempi  in  Florence.  It  represents  the  Virgin  standing,  holding  the  Child  pressed 
closely  to  her  breast,  with  his  face  against  hers.  It  is  not  so  remarkable  for  its 
relicrious  sentiment,  but  it  is  one  of  the  most  deliohtiul  rendering's  of  maternal 
affection.  The  aspect  of  the  simple  group  is  bright,  happy,  almost  mirthful ;  and 
the  lively  coloring  adds  to  the  cheerful  harmony  of  the  picture.  There  is  no 
reminiscence  of  the  Peruginesque  style  here.  It  is  purely  Florentine,  and  strongly 
partakes  of  the  characteristics  of  Leonardo  da  Vinci.  The  Virgin  is  shown  nearly 
in  profile,  but  the  Child  turns  to  look  towards  the  spectator  as  he  clings  to  his 
mother.  He  has  almost  the  noble  beauty  of  the  Infant  Christ  in  the  Madonna 
della  Sedia.  Eugene  Muntz  says,  "  Ce  sont  des  beautes  qu'il  est  plus  facile  de 
sentir  que  d'analyser." 

Soon  after  the  discovery  of  the  picture  in  the  Casa  Tempi  it  was  purchased 
by  Louis   of  Bavaria  for  the   Pinakothek  at  Munich.      It   is   in  good  preservation. 

Painted  on  wood.      Height   30   inches,  width   20J  inches. 


Madonnas  and  Holy  Families.  57 

THE    MADONNA    OF    THE    ORLEANS    GALLERY. 

The  Virgin  is  seated,  with  the  Child  upon  her  lap.  He  is  half  recumbent, 
clinging  to  the  bosom  of  her  dress,  and  looking  out  of  the  picture  with  a  grave 
expression.  The  Virgin  bends  over  him  in  an  attitude  of  melancholy  tenderness, 
holding  one  foot  in  her  hand.  She  is  youthful  and  beautiful,  and  with  an  expres- 
sion of  chastened  resignation  that  is  most  touching.  The  simplicity  of  her  attire 
is  in  keeping,  as  well  as  the  air  of  the  somewhat  homely  room  in  which  she  sits. 
Unlike  other  pictures  of  this  period,  the  coloring  is  of  a  low  tone,  and  marked  by 
delicate  shading.  Its  picturesque  though  simple  arrangement,  its  graceful  lines,  and 
exquisite  treatment,  render  it  one  of  the  most  charming  of  Raphael's  Madonnas. 
The  accessories,  not  in  the  usual  style  of  the  painter,  have  given  rise  to  the 
opinion  that  they  were  a  later  addition,  and  by  another  hand  ;  but  there  seems 
no  sufficient  foundation  for  it.  It  is  supposed  to  have  been  painted  for  Duke 
Guidobaldo  of  Urbino,  but  it  has  changed  hands  many  times.  It  was  once  in  the 
Orleans  Gallery,  from  which  it  is  named,  and  is  now  in  the  possession  of  the 
Due  d'Aumale  at  Chantilly.     It  is  in  perfect  preservation. 

Painted  on  wood.      Height    nj  inches,  width   Si  inches. 

THE    HOLY    FAMILY    OF    THE    CANIGIANI     FAMILY. 

This  is  a  very  beautiful  composition,  though  the  painting  exhibits  in  some 
respects  the  imperfections  of  the  artist's  earlier  time.  It  is  of  a  peculiar  style 
of  grouping:  the  Virgin  is  half  sitting,  half  kneeling,  holding  the  Infant  Christ 
with  one  hand,  with  a  small  book  in  the  other.  On  one  side  kneels  Ste.  Elisa- 
beth with  St.  John  before  her :  behind  them  stands  Joseph,  leaning  on  a  staff, 
completing  the  group  in  the  form  of  a  pyramid.  The  common  feeling  which  ani- 
mates them  all  gives  the  picture  a  peculiar  interest.  The  Virgin  has  been  reading 
with  the  Child  on  her  lap,  evidently  :  he  has  slipped  to  the  ground,  and  is  offering 
a  scroll  to  his  young  companion,  to  whom  he  is  raising  his  face  with  an  expression 


J 


8  Raphael. 


of  sweetness  and  innocence.  The  mother  bends  forward  with  an  interested  look ; 
and  Elisabeth  raises  her  face  inquiringly  to  Joseph,  who  leans  heavily  on  his  staff, 
and  looks  down  upon  the  children  with  a  grave  face.  St.  John  seems  to  hesitate 
and  draw  back  at  sight  of  the  significant  words  upon  the  scroll:  "  Eccc  Agnus 
Dei!"  Both  children  are  lovely,  but  the  contrast  between  them  is  marked.  "The 
difference  of  years  and  race  between  the  Baptist  and  Christ  is  marked  in  that 
noble  way  which  so  eminently  stamps  Raphael's  genius,  who  would  naturally  strive 
to  give  the  Saviour  a  more  refined  air  and  more  graceful  proportions  than  his 
companion."  *  There  is  an  irregular  landscape,  a  town  with  towers  and  turrets, 
and  mountains  in  the  distance.  The  somewhat  stiff  regularity  of  the  picture  was 
originally  relieved  by  the  presence  of  three  small  angels  in  the  clouds  above 
the  group ;  but,  having  been  much  injured  in  the  cleaning  of  the  painting,  they 
have  now  been  removed  entirely.  This  Holy  Family  was  painted  for  Domenico 
Canigiani  of  Florence,  and  was  at  one  time  in  the  Uffizi.  It  was  presented  to 
the  Princess  Anna  Maria  de'  Medici  on  her  marriage  with  Johann  Wilhelm,  Elector 
of  the  Palatinate,  and  is  now  in  the  Pinakothek  at  Munich. 

Painted   on   wood.      Height   51^   inches,    width    42    inches. 


THE    HOLY    FAMILY    WITH    JESUS    SEATED    ON    A    LAMB. 

This  is  a  somewhat  injured  but  very  attractive  picture,  in  some  points  resem- 
bling that  of  the  Canigiani  Holy  Family.  The  Virgin,  half  kneeling,  is  holding  the 
Infant  on  a  lamb,  which  cowers  to  support  the  weight.  Joseph  stands  by,  looking 
upon  them  as  he  leans  wearily  upon  his  staff.  There  is  a  very  beautiful  and  elabo- 
rately painted  landscape,  and  in  the  distance  the  flight  into  Egypt  is  represented  in 
miniature.  It  is  by  some  supposed  that  this  composition  was  suggested  to  Raphael 
by  Leonardo's  picture  of  Ste.  Anne  with  the  Virgin  and  Child  and  the  Lamb  (now 
in  the  Louvre).  The  painting  was  for  a  long  time  in  the  Oratorio  of  the  Escurial 
at  Madrid,  quite  unnoticed.     The   Infant   Don   Sebastian,  who  was  fond   of  art,  one 

1  Crowe   and   Cavalcaselle. 


Madonnas  and  Holy  Families.  39 

day  saw  it,   and  appreciated   its   beauty:    on  examination,  the  signature  of  Raphael 

was  found.      We   have    no    means    of  tracing   its   earlier  history,   or  the  manner  of 

its    transportation    to    Spain.     It    is    in    the    Museum    of   Madrid.      Upon  the  border 

of  the  Virgin's  dress  is   inscribed   in   gold :    "  Raphael  Vrbinas   MDVII."  Numerous 
designs,  evidently  for  this  picture,  are  in  European  collections. 

Painted   on   wood.      Height    1 1  \   inches,    width    S j  inches. 


THE    MADONNA    WITH    THE    PINK. 

A  small,  beautiful  picture,  now  only  known  through  copies.  The  Virgin  is 
seated  in  a  room,  holding  the  Child,  to  whom  she  is  offering  a  pink,  and  who  is 
looking  up  to  her.  It  is  said  in  reference  to  this  picture,  in  the  new  and  exhaustive 
work  of  Crowe  and  Cavalcaselle,1  "It  has  been  usual  to  believe  that  where  Raphael- 
esque  Madonnas  are  preserved,  of  which  no  single  example  bears  the  master's  true 
sign-manual,  it  may  be  presumed  that  the  original  has  perished;  yet  we  may 
suppose,  that,  in  many  such  cases,  Raphael  never  painted  an  original  at  all,  but 
left  the  design  exclusively  to  the  care  of  his  subordinates.  An  early  specimen  of 
this  kind  is  the  'Madonna  with  the  Pink.'"  A  fine  example  of  this  picture  is  in 
the  collection  of  Count  Spada  at  Lucca,  and  there  are  several  in  different  collec- 
tions in  Rome. 

This  picture  at  Lucca  is  painted   on  wood.     Height    n^  inches,  width  9   inches. 


THE    MADONNA    DELLA    CASA    NICCOLINI. 

ALSO    CALLED    THE    "LARGE    MADONNA    OF   LORD    COWPER." 

The  Virgin,  seated,  in  nearly  profile  view,  is  bending  slightly  towards  the  Child, 
who  is  sitting  upon  a  white  cushion  on  her  lap,  holding  the  bosom  ol  his  mother's 
dress  with  his  left  hand,  and  looking  towards  the  spectator.  The  countenance  of 
the  Virgin   is  very   sweet,  and  that    of   the   Child    has  an    expression    of  joyousness 

1   Raphael,    his    Life    and   Works.     1S82. 


40  Raphael. 


and  gayety  that  is  contagious.  In  this  picture  Raphael  has  represented  the  Mother 
and  Child  under  natural  and  ordinary  aspects,  and  there  is  scarcely  any  appeal  to 
a  higher  than  human  sentiment.  It  is  charming'  with  the  "race  of  nature,  and 
there  is  a  strength  and  a  beauty  in  the  figures  of  both  which  exalt  it  to  a  high 
rank  among  the  Madonnas  of  this  class.  The  drawing  is  perfect,  and  the  picture 
is  in  good  preservation.  It  was  purchased  of  the  Niccolini  family  in  Florence  by 
Lord  Cowper  when  he  was  ambassador  to  the  court  of  Tuscan)',  and  it  is  in  his 
collection  at  Panshanger. 

Painted  on  wood.     Figure  to  the  knees ;   life  size. 

THE    MADONNA    WITH    THE    SLEEPING    CHILD. 

The  original  of  this  is  unknown,  but  there  are  many  copies.  The  Virgin  is 
bending  over  the  sleeping  Child,  and  raising  a  veil  which  covers  him.  St.  John  is 
kneeling  near,  and  pointing  with  his  hand  at  the  spectator  with  a  joyful  expression 
of  countenance.  In  the  distance  is  seen  a  monastery  on  the  right  and  a  town  on 
the  left.  In  the  Virgin  with  the  Diadem  the  composition  is  very  similar.  The 
cartoon  for  the  picture,  without  the  landscape,  is  in  the  Academy  of  Florence. 

Figures  two-thirds  the   size  of  life. 

THE    MADONNA    Dl    CASA    COLONNA. 

This  is  a  valuable  though  unfinished  picture.  In  the  opinion  of  Messrs.  Crowe 
and  Cavalcaselle,  it  does  not  belong  to  Raphael's  Florentine  period,  but  was  com- 
menced at  Perugia,  and  left  incomplete.  It  is  a  very  spirited  picture,  expressing 
fervent  maternal  love,  and  a  childish,  winning  gayety.  The  Virgin  is  seated,  with 
a  book  in  one  hand,  from  which  her  attention  is  just  turned  by  the  Child  on  her 
lap,  who  is  clinging  to  her  dress,  and  trying  to  lift  himself  up.  He  looks  smilingly 
towards  the  spectator ;  and  the  mother,  raising  the  book  in  her  left  hand,  looks 
serenely  at  him.      A   number  of  sketches    reveal    the    thoughts    of  the    artist  as  he 


Madonnas  and  Holy  Families.  41 

labored  to  produce  this  beautiful  group,  so  simple,  yet  expressing  the  highest  art. 
The  Virgin  is  less  majestic  than  is  usual,  but  she  is  very  lovely.  Her  hair  and  the 
arrangement  of  her  simple  attire  are  extremely  graceful.  It  once  belonged  to  the 
family  of  the  Salviati  in  Florence,  but  passed  into  the  possession  of  the  Colonna 
family  in  Rome,  of  whom  it  was  purchased  for  the  Prussian  Government  by  Baron 
Bunsen,  and   is  now  in  the  Berlin   Museum. 

Painted  on  wood.     Height  317}  inches,  width   26   inches. 

LA    BELLE    JARDINIERE    (LA    BELLA    GIARDINIERA). 

This  composition  is  one  of  Raphael's  most  poetic  inspirations,  and  the  stiff- 
ness which  characterized  many  of  his  previous  representations  of  the  subject  has 
wholly  disappeared.  The  tender  grace  of  the  group  could  not  be  surpassed,  and 
the  heads  especially  are  full  of  beauty  and  expression.  The  picture  may  have 
derived  its  name  from  the  landscape,  filled  with  plants  and  flowers,  in  which  the 
Madonna  is  seated,  or,  as  some  believe,  from  the  simplicity  of  her  dress,  like  that 
of  a  peasant.  It  would  seem  to  take  its  name  most  naturally  from  the  landscape, 
enriched  with  innumerable  flowers  and  plants,  which  forms  the  setting  ot  the  group, 
painted  with  a  care  and  enthusiasm  that  is  nowhere  else  to  be  found  in  Raphael's 
pictures:  every  flower,  leaf,  and  tuft  of  grass,  is  elaborated  with  marvellous  fidelity 
and  grace.  There  is  a  town  in  the  distance,  beyond  which  are  mountains  with 
a  lake  at  their  base  :  it  is  overflowing-  with  the  beauties  of  nature.  The  Virgin,  a 
majestic  figure,  is  seated,  her  face  turned  a  little  to  one  side ;  the  Child  stands 
leaning  against  her  ;  while  St.  John  kneels  at  the  other  side,  holding  his  cross,  and 
looking  up  at  Jesus  with  an  expression  of  devout  admiration.  It  is  something  more 
than  a  picture  of  smiling  content  and  happy  communion.  There  is  a  mournful  depth 
in  the  expression  of  the  Virgin's  face  as  she  looks  downward,  apparently  absorbed 
in  contemplation  of  the  mystery  which  surrounds  the  life  of  her  Son  ;  and  there  is 
inexpressible  love  in  the  manner  in  which  she  rests  one  hand  on  his  shoulder,  and 
clasps  his  arm  with  the  other.      He   rests  one  hand  against  her  knee,  and  balances 


42  Raphael. 

himself  with  both  feet  upon  one  of  hers,  and  looks  up  in  her  face  with  an  answer- 
ing sympathy  while  his  fingers  touch  the  book  which  lies  closed  in  her  lap.  There 
is  an  instinctive  humility  in  the  attitude  of  St.  John  as  he  watches  this  mysterious 
communion. 

There  are  many  copies  of  La  Belle  Jardiniere,  and  there  is  much  discussion  in 
regard  to  the  original.  According  to  the  best  authorities,  Raphael  left  it  unfinished 
when  he  went  to  Rome,  and  it  was  completed  by  Ridolfo  Ghirlandajo  :  the  Virgin's 
mantle  is  not  painted  in  the  style  of  Raphael,  which  would  seem  to  prove  the 
statement.  It  was  purchased  by  Francis  I.  of  Filippo  Sergardi,  a  Siennese,  who 
had  ordered  it  of  Raphael  ;   and  it  is  now  in  the   Louvre. 

An  arched  picture,   painted  on   wood.      Height  46^  inches,   width   37^  inches. 

THE    MADONNA    DEL    BALDACCHINO    (CANOPY). 

SOMETIMES    CALLED    THE    'MADONNA    Dl    PESCIA." 

This  large  altar-piece  was  painted  for  the  chapel  of  the  Dei  family  in  the 
Church  of  S.  Spirito  in  Florence,  though  it  was  never  placed  there.  It  is  a  grand 
composition,  and  the  fruit  of  much  study,  as  is  proved  by  the  sketches  which  exist. 
The  Virgin  is  seated  on  a  throne,  in  a  niche,  holding  the  Child  closely  in  her 
arms.  Her  eyes  are  cast  down  ;  and  she  appears  to  be  absorbed  in  the  thoughts 
of  her  Son,  who  turns  with  an  interested  and  smiling  look  towards  the  sacred  per- 
sonages, St.  Peter  and  St.  Bruno,  who  are  standing  upon  the  left.  St.  James  the 
Less  (or  St.  Anthony)  and  St.  Augustine  are  standing  upon  the  right.  At  the 
foot  of  the  throne  are  two  small  angels,  singing.  They  are  very  beautiful,  and  ot 
natural  and  graceful  movement.  Above,  two  attendant  angels  are  drawing  aside 
the  curtains  of  a  canopy.  The  picture  was  painted  in  imitation  of  the  style  of 
Fra  Bartolommeo,  or  under  the  influence  of  that  master's  works.  "  If  we  trace  the 
friar's  lessons  in  the  attitudes  of  the  figures  and  the  solemn  grandeur  of  their 
gestures  and  draper}-,  the  close  connection  of  the  two  masters  is  yet  more  marked 
in  the  two  seraphs  who  look  down  at  the  Virgin   as  they  fly,  and  lift  the  hangings 


Madonnas  and  Holy  Families.  43 

of  the  conical  dais.  Never  till  now  had  Raphael  ventured  upon  such  daring  fore- 
shortenings  as  the  bird-like  being  to  the  left,  or  the  profiled  messenger  to  the 
right,  display.  The  contrast  of  their  Might  and  motion  with  the  stillness  and  calm 
of  the  groups  below  is  perfect ;  and  the  shapes  have  acquired  a  grace,  a  lightness 
and  elegance,  which  Fra  Bartolommeo  was  incapable  of  equalling,  much  less  of 
surpassing."1  The  picture  was  unfinished  when  Raphael  went  to  Rome;  and  after 
his  death,  his  pupils  and  heirs,  Giulio  Romano  and  Francesco  Penni,  sold  it  to  the 
president  of  the  Pope's  Chancery,  Baldassare  Turini,  who  placed  it  in  the  Cathe- 
dral of  Pescia,  his  native  town.  In  1697  it  xvas  purchased  by  the  Grand  Duke  of 
Tuscany,  and  its  place  in  the  church  was  filled  by  a  copy.  It  was  carried  to  France 
by  Napoleon,  and  returned  to  Italy  after  the  treaty  of  181 5,  and  is  now  in  the 
Pitti  Gallery.  In  coloring  it  is  rich  and  beautiful,  though  somewhat  damaged  by 
cleaning    and    restorations. 

Painted   on    wood.     Height    12S5    inches,    width    76!    inches. 

THE  MADONNA  OF  THE  ESTERHAZY  GALLERY. 

This  attractive  little  picture  is  scarcely  more  than  a  sketch.  The  Infant  Christ  is 
seated  on  a  hillock  ;  and  the  Virgin  kneels  before  him,  holding  him  with  both  hands, 
and  looking  down  at  St.  John,  who  is  kneeling  on  the  left,  reading  from  a  parchment 
scroll  the  words :  "  Ecce  Agnus  Dei!"  The  Infant  leans  over  his  mother's  arm,  and 
endeavors  to  grasp  the  scroll.  There  is  a  landscape  background,  with  trees  and 
ruins,  and  a  mountain  on  the  right.  As  a  composition  it  is  well-nigh  perfect.  The 
picture  was  presented  to  the  Empress  Elizabeth  by  Pope  Clement  XL,  of  the  Albani 
family :  it  afterwards  passed  into  the  possession  of  the  Esterhazy  family,  and  was 
one  of  the  treasures  of  the  Esterhazy  Gallery  in  Vienna.  The  whole  collection  was 
lately  purchased  by  Hungary,  and  in  1S65  was  removed  to  the  new  Academy  at 
Pesth. 

Painted   on   wood.     Height    10    inches,    width    8    inches. 

1  Crowe   and    Cavalcaselle :    Raphael,    his    Life   and   Works.     1SS2. 


J  ""       r       -    L  -    '.  -1.  .'-  -'. 


THE    ROMAN    PERIOD. 


THE    MADONNA    OF    THE    ALBA    FAMILY. 


HIS  picture  is  believed  to  have  been  painted  soon  after  Raphael's 
arrival  in  Rome.  It  is  closely  allied  in  composition  and  style  to 
those  of  the  Florentine  period.  The  Virgin  is  sitting  upon  the 
"round,  holding:  in  her  hand  a  book  which  she  has  closed,  her  fineer 


still  between  the  leaves.  The  Child,  who  is  of  wonderful  grace  and  beauty,  sits 
upon  her  lap,  with  one  foot  resting  on  the  grass.  St.  John  is  kneeling  before  his 
divine  companion,  and  offering  a  small  cross,  which  he  grasps  with  his  right  hand. 
The  Madonna  looks  upon  them  with  an  expression  of  thoughtful  feeling.  There 
is  nothing  here  of  the  religious  mysticism  which  characterized  his  representations 
while  under  the  influence  of  the  Umbrian  traditions  ;  yet  it  is  marked  by  that  ele- 
vated style  from  which  he  never  departed,  even  in  his  simplest  pictures  of  the 
Madonna.  The  faces  of  the  children  are  both  remarkable  for  a  sweet  seriousness. 
There  is  a  carefully  painted  landscape.  Flowers  are  blossoming  around  the  group, 
and  trees  and  distant  mountains  form  a  restful  background. 

The  picture  is  in  good  preservation,  though  the  landscape  was  at  one  time 
entirely  painted  over.  The  new  paint  has  been  removed,  and  the  picture  restored 
to  its  original  aspect.  It  was  formerly  in  a  church  at  Xocera  de'  Pagani,  in  the 
Neapolitan   States,   and  was  purchased  by  the  Viceroy   of  Naples ;    later   it  adorned 


«. 


Madonnas  and  Holy  Families.  45 

the  gallery  of  the  Duke  of  Alba  at  Madrid.     After  various  changes  it  was  bought 
by    the    Emperor   of    Russia,    and    is    in    the    Hermitage    at    St.    Petersburg. 

A   circular  picture   painted   on   wood.     9^   inches   in   diameter. 


THE    MADONNA    OF    THE    ALDOBRANDINI    FAMILY. 

There  is  a  stately  grace  in  this  composition  that  distinguishes  it  from  those 
of  the  earlier  periods.  The  Virgin  is  represented  seated  in  front  of  the  pilaster  of 
an  arcade,  with  the  Infant  Jesus  on  her  lap,  and  bending  slightly  forward  towards 
the  little  St.  John,  with  her  left  arm  around  him.  The  Holy  Child  is  leaning  against 
his  mother's  breast,  and  offering  a  pink  to  St.  John,  who  playfully  reaches  up  for 
it  with  one  hand,  holding  a  cross  in  the  other.  It  is  a  scene  full  of  gentle  dig- 
nity and  tender  feeling.  The  picture  was  formerly  in  the  Aklobrandini  Collection 
in  Rome,  and  was  purchased  by  Lord  Garvagh  of  London.  In  1865  it  became 
the    property   of  the    National    Gallery. 

Painted   on   wood.     Height    \\\   inches,    width    nf   inches. 


THE    MADONNA    Dl     LORETO. 

The  original  of  this  picture  is  lost,  but  various  copies  of  it  are  met  with. 
It  represents  the  Virgin  standing  beside  the  couch  of  the  Infant,  who  is  just 
awakening,  and  lifting  his  arms  to  her,  holding  the  veil  which  covered  him.  Joseph 
stands  behind,  leaning  on  his  staff.  The  picture  was  formerly  in  the  Church  of 
S.  Maria  del  Popolo  in  Rome,  but  was  carried  to  Florence,  and  later  is  sup- 
posed to  have  been  removed  to  the  church  at  Loreto,  hence  its  name.  There 
is   a   copy    in    the    Louvre,    and    one    in    the    Museum    of  Naples. 

Figures    half-length,    the    size    of    life. 


4.6  Raphael. 


THE    MADONNA    OF    THE    DIADEM. 

ALSO  KNOWN  AS   THE  "SILENCE    OF    THE  HOLY  VIRGIN;'    THE   "SLUMBER    OF  JESUS,"   "LA    VIERGE   AU   LINGE." 

"LA    VIERGE  AU  VOILE." 

The  Virgin  is  seated  upon  the  ground,  and  with  her  right  hand  lifts  the  veil, 
which  covers  the  Child,  who  is  asleep  upon  a  couch,  to  show  him  to  St.  John, 
who  is  kneeling  in  joyful  adoration  by  her  side,  and  around  whom  she  holds  her 
left  arm.  Upon  her  head  is  a  blue  diadem.  There  is  a  beautiful  landscape  back- 
ground, in  which  are  represented  the  ruins  in  the  Sachetti  vineyard  in  Rome.  It 
is  now  in  the  Louvre. 

Painted    on   wood.     Height    26^   inches,    width    195-   inches. 


THE    MADONNA    Dl    FOLIGNO. 

This  work  is  one  which  combines  great  beauty  with  an  exalted  sentiment, 
and  ranks  among  Raphael's  grandest  representations  of  the  glorified  Madonna  and 
Child.  It  was  an  altar-piece  painted  for  Sigismondi  Conti  of  Foligno,  private  secre- 
tary of  Pope  Julius  II.,  and  was  doubtless  designed  for  a  votive  offering.  In  the 
upper  part  of  the  picture  is  the  Virgin,  seated  upon  clouds  in  a  golden  glory, 
surrounded  by  a  circle  of  half-length  angels  in  attitudes  of  devotion.  She  is 
embracing  the  Child,  who  is  lightly  sustained  by  her  arm  and  some  drapery 
around  his  body.  At  one  side  kneels  Sigismondi  .  Conti,  a  figure  of  wonderful 
reality  and  earnestness.  Behind  him  stands  St.  Jerome,  who  with  great  solemnity 
appears  to  be  recommending  him  to  the  Virgin.  St.  John  the  Baptist  stands  on 
the  opposite  side,  and  St.  Francis  kneels  beside  him.  Between  the  two  groups 
stands  an  angel-boy  holding  a  tablet,  and  looking  towards  the  Madonna.  His 
upturned  face  is  of  the  most  exquisite  beauty.  In  the  distance  is'  a  town,  towards 
which  a  burning  ball  is  falling:  above  it  is  a  rainbow,  and  beyond,  the  hills  and 
clouds  form  a  background.  According  to  tradition,  the  burning  ball  is  a  bomb, 
and  bears  reference  to    the    deliverance    of  Sigismondi    at    the    siege    of  his    native 


Madonnas  and  Holy  Families.  47 

town,  which  the  picture  was  intended  to  commemorate.  The  rainbow  is  a  token 
of  peace  and  reconciliation.  The  conception  of  this  picture  is  very  noble.  The 
composition  is  stately  without  being  stiff;  while  the  treatment  of  light  and  shade, 
and  the  coloring,  are  most  effective.  The  beauty  of  the  celestial  personages  con- 
trasted with  the  aspect  of  those  grouped  below,  their  solemn  yet  serene  repose, 
enhanced  by  the  rugged  and  careworn  features  of  the  devotees,  add  greatly  to 
the  charm  and  impressiveness  of  the  picture. 

It  was  painted  for  the  high  altar  of  the  Church  of  S.  Maria  in  Araceli,  on 
the  Capitoline  Hill  at  Rome  (in  the  choir  of  which  the  donor  is  buried),  and 
remained  there  from  15 12  to  1565;  at  that  time  Anna  Conti,  niece  of  Sigismondi, 
had  it  transferred  to  the  Church  of  Ste.  Anna  at  Foligno,  where  it  remained  until 
1792,  when  it  was  carried  away  by  the  French.  It  was  in  an  injured  condition 
when  it  reached  Paris,  and  was  transferred  to  canvas  by  M.  Haquin,  and  restored 
by  Herr  Roser  of  Heidelberg.  After  the  treaty  of  1S15  it  was  returned  to  Rome, 
and    is    now    in    the    Vatican    Gallery. 

Painted   on   wood,  afterwards   transferred   to    canvas.     Height    113^   inches,    width    74!  inches. 


THE    MADONNA    OF    THE    BRIDGEWATER    GALLERY. 

The  Virgin  is  seated  in  full  front-view,  with  the  Child  lying  in  a  graceful 
attitude  across  her  lap,  and  supported  by  her  right  arm.  She  is  looking  tenderly 
at  him,  while  he  grasps  her  veil,  and  looks  up  in  her  face.  The  face  of  the 
Madonna  is  very  attractive  in  its  pure  beauty,  and  the  picture  is  expressive  of 
that  tender  and  intimate  communion  which  Raphael  sometimes  portrayed  in  his 
representations  of  these  two  figures  by  themselves.  The  modelling  of  the  figures 
is  very  excellent ;  and  the  execution  is  perfect,  except  in  the  blue  mantle  of  the 
Virgin,  which  is  supposed  to  be  the  work  of  a  pupil.  The  picture  is  painted  with 
such  lightness  that  the  lines  of  the  drawing  can  be  seen  through.  In  a  number 
of  sketches  preserved  in  different  collections  the  composition  of  this  beautiful  work 


48  Raphael. 

is  to  be  traced,  and  there  are  many  copies  of  the  work.  The  original  was  for- 
merly in  the  collection  of  the  Duke  of  Orleans.  It  was  purchased  by  the  Earl 
of  Ellesmere,  and    is    in    the    Bridgewater    Gallery    in    London. 

Painted   on   wood,   afterwards   transferred   to   canvas.     Height   34   inches,   width   23-^   inches. 


THE    MADONNA    WITH    JESUS    STANDING. 

In  this  simple  representation  the  Virgin  is  seated  behind  a  balustrade,  or  low 
wall,  on  which  the  Child  is  standing,  looking  smilingly  out  of  the  picture.  The 
mother  appears  to  be  in  happy  meditation.  The  Infant's  arms  are  around  her  neck 
as  she  holds  him  close,  one  foot  resting  in  her  hand.  The  face  of  the  Madonna 
is  youthful,  and  noble  in  expression.  This  picture,  now  much  injured,  is  in  the 
collection    of   Lady    Burdett-Coutts,    in    London. 

Painted   on   wood,   afterwards   transferred   to   canvas.     Height   32    inches,   width    255  inches. 


THE    MADONNA    DEL    DIVINO    AMORE. 

This  picture  is  also  called  the  Holy  Family  of  Naples.  The  Virgin  and  Ste. 
Elisabeth,  with  the  two  children,  are  seated  near  a  ruin.  The  Holy  Infant  is  bless- 
ing St.  John,  who  is  kneeling  in  adoration.  In  the  background,  Joseph  is  seen 
under  the  arcade  of  a  building.  The  execution  of  this  picture  has  been  attributed 
to  Giulio  Romano,  though  it  is  believed  that  the  principal  parts  are  by  the  master's 
hand.     It  is  in  the  Naples  Museum. 

Painted   on   wood.     Height    23    inches,   width    19   inches. 


THE    MADONNA    DELL'    IMPANNATA. 

This    picture    takes    its    name    from    the   window    in    the   background,    curtained 
with  paper  or  cloth.     It  represents  the  Virgin   taking   the   Child  from  the  arms   of 


Madonnas  and  Holy  Families.  49 

Ste.  Elisabeth.  On  the  right  is  St.  John  upon  a  panther's  skin,  holding  a  cross 
in  his  right  hand,  and  pointing  with  his  left  towards  the  Infant  Christ.  The  genu- 
ineness of  this  picture  has  been  disputed  ;  but  the  composition  is  so  fine,  and  the 
exe  -ution  in  parts  is  so  excellent,  that  it  seems  probable  that  the  master  designed 
it,  ,.  rid  at  least  executed  portions  of  it.     It  is  in  the  Pitti  Gallery  in  Florence. 

Painted   on   wood.     Figures   nearly   life-size. 


THE    MADONNA    DEL    PESCE    (OF    THE    FISH). 

In  sublimity  of  character  this  picture  takes  rank  with  the  Madonna  di  San 
Sisto  and  the  Madonna  di  Foligno.  It  combines  the  expression  of  simple  and 
earnest  faith  which  distinguishes  the  early  manner  of  Raphael,  with  the  grand  and 
powerful  style  of  his  mature  time.  It  represents  the  Virgin  seated  on  a  throne, 
with  the  Child  on  her  lap.  On  one  side  kneels  St.  Jerome,  holding  a  large  book 
in  his  hands :  on  the  other  side  is  the  young  Tobit,  accompanied  by  the  angel 
Raphael.  The  Madonna  and  St.  Jerome  are  looking  down  upon  Tobit,  who  is 
kneeling  before  the  Infant  Saviour,  and  looking  upward,  holding  the  fish  in  his 
right  hand.  The  face  of  the  Virgin  is  of  a  grave  and  majestic  sweetness ;  and 
the  Child,  who  is  exhibiting  the  most  interested  sympathy,  is  of  most  radiant  beauty. 
The  angel  is  a  very  tender  and  graceful  figure  ;  and  the  bearing  of  the  suppliant 
is  of  unaffected  simplicity.  A  curtain  is  drawn  back  at  the  left,  and  a  small  extent 
of  blue  sky  is  seen  on  the  right.     The  coloring  is  clear  and  harmonious. 

The  Mi  donna  del  Pesce  was  formerly  in  the  Church  of  S.  Domenico  Maggi- 
ore  at  Naples.  Diseases  of  the  eye  were  common  in  that  city ;  and  a  chapel  had 
been  consecrated,  where  prayers  for  the  recovery  of  those  afflicted  were  especially 
offered  ;  and  the  picture  was  painted  for  this  chapel,  representing  Tobit  led  by  the 
angel  to  implore  of  the  Virgin  a  cure  for  his  father's  blindness.  It  is  also  supposed 
to  refer  to  the  Book  of  Tobit,  translated  by  Jerome,  which  was  not  acknowledged 
as    canonical    in    the    early    centuries    of   the    Church.      The    Holy    Child    graciously 


5  o  Raphael. 


receives  the  young  Tobit,  and,  as  he  bends   forward,  lays  his  hand   upon  the  pro- 
phetic  book,    thus    indicating    the    sacredness    of  St.    Jerome's   version. 

About  1644  the  picture  was  taken  to  Spain,  and  became  the  property  of  Philip 
IV.,  and  was  placed  in  the  Escurial.  In  iS  13  it  was  carried  away  by  the  French. 
It  was  in  a  much  injured  condition  when  it  reached  Paris,  and  Bonnemaison  was 
engaged  to  transfer  it  to  canvas.  It  was  not  finished  at  the  conclusion  of  the 
treaty  of  1S15,  and  was  not  restored  to  Spain  until  1822.  It  suffered  somewhat 
in  the  process,  but  it  is  regarded  as  the  gem  of  the  Italian  Gallery  of  the  Museum 
at  Madrid. 

Painted   on   wood,   afterwards   transferred   to   canvas.     Height   77J   inches,    width   63J   inches. 


THE    MADONNA    DELLA    SEDIA     (OF    THE    CHAIR). 

ALSO    CALLED    THE   -MADONNA    DELLA    SEGCIOLA  "    (SMALL    CHAIR). 

This  picture  was  painted  when  Raphael  was  at  the  height  of  his  powers  and 
in  the  midst  of  his  great  works  in  Rome.  It  is  entirely  by  his  own  hand,  and  is 
one  of  his  most  poetical  inspirations,  though  it  is  less  striking  for  its  religious 
significance  than  for  its  expression  of  intense  human  affection.  The  Virgin,  seen  in 
a  side-view,  is  seated  on  a  chair  with  the  Child  on  her  knees,  closely  embraced  with 
both  arms,  the  faces  turned  towards  the  spectator.  Around  the  head  of  the  Virgin 
is  a  striped  drapery  which  falls  gracefully  at  the  back,  and  on  her  shoulders  is  a 
rich  fringed  scarf  of  many  colors.  On  the  right  is  the  little  St.  John,  looking  up 
with  adoring  affection.  The  face  of  the  Madonna  is  of  classic  beauty,  and  its 
charm  is  enhanced  by  its  expression  of  tranquil  happiness.  The  Child,  too,  is  very 
beautiful,  with  soft  repose  in  face  and  limb ;  and  St.  John,  pressing  close  to  the 
Virgin's  knee,  completes  the  sweet  and  tranquil  scene :  only  the  little  rustic  cross 
hints  at  a  deeper  meaning. 

The  coloring  is  warm  and  beautiful.  Passavant,  who  examined  it  closely  upon 
an  easel,  says  that  "  the   different  tints  were  not  blended  together,  but  laid  side  by 


Madonnas  and  Holy  Families.  5  1 

side  with  such  consummate  knowledge  of  chiaroscuro,  that  at  a  little  distance  they 
appear  to  melt  into  each  other  without  break  or  transition." 

There  are  numerous  copies  of  this  picture,  both  ancient  and  modern,  and  in 
every  variety  of  style ;  but  it  seems  impossible  to  reproduce  its  naive  beauty  and 
indescribable  charm.  The  two  children  are  sometimes  copied  with  success,  but  the 
sweet  simplicity  of  expression  upon  the  Virgin's  face  almost  always  degenerates  into 
archness  or  coquettishness. 

The  priceless  original  is  in  the  Pitti  Gallery  in  Florence. 

Painted  on  wood.     A  circular  picture  30  inches  in  diameter. 


THE  MADONNA  DELLA  TENDA  (OF  THE  CURTAIN). 

This  composition  is  similar  to  the  Madonna  della  Sedia,  except  that  the  Vir- 
gin's face  is  seen  in  profile,  and  the  Child  is  more  animated.  St.  John  at  the  right 
completes  the  group.  A  curtain  forms  the  background,  and  this  gives  the  picture 
its  name.  There  are  many  copies  of  this  work,  the  original  of  which  is  generally 
conceded  to  be  that  in  the  Pinakothek  at  Munich. 

Painted  on  wood.      Height  31   inches,  width   2\\  inches. 


THE  MADONNA  WITH  THE  CANDELABRA. 

A  beautiful  picture,  representing  the  Virgin  seated  in  nearly  full-front  view, 
holding  the  Child  on  her  lap.  Her  face  is  very  lovely  in  its  calm  and  dignified 
seriousness.  The  Child  is  animated  and  lifelike,  but  of  less  beauty  than  is  usual, 
and  both  figures  have  been  injured  by  restoration.  Two  angels  bearing  torches  at 
the  sides  are  a  subsequent  addition,  and  not  in  the  manner  of  Raphael.  The 
picture  was  formerly  in  the  Borghese  Gallery  in  Rome,  and  is  now  in  the  Munro 
Collection  in  London. 

A  circular  picture,   25^  inches  in  diameter. 


5  2  Raphael. 

THE    HOLY   FAMILY   CALLED   THE  "PEARL" 

This  is  a  noble  and  harmonious  composition.  The  figures  form  a  pleasing 
group,  and  each  is  invested  with  a  peculiar  charm.  The  Virgin  is  seated,  with  the 
Infant  Jesus  upon  her  lap :  she  holds  him  with  her  right  hand,  while  her  left  is 
placed  upon  the  shoulder  of  Ste.  Anna,  who  is  kneeling  by  her  side.  St.  John  is 
bringing  fruits  in  his  panther's  skin,  and  offering  them  to  his  Divine  Companion, 
who  is  raising  his  face,  smiling,  and  stretching  out  his  hands  to  receive  them.  The 
Virgin  looks  down  lovingly  upon  the  children,  and  Ste.  Anna  has  an  expression  of 
devout  contemplation.  Mary  is  a  figure  of  great  beauty,  dignity,  and  grace,  and  her 
drapery  is  of  simple  elegance.  The  Infant  Christ  is  of  a  wonderful  perfection  of 
face  and  form.  St.  John  is  beautiful,  but  less  so  than  the  Divine  Child.  In  the 
background  is  a  landscape,  with  figures  on  the  right,  and  on  the  left  a  ruin,  where 
St.  Joseph  is  seen.  In  the  opinion  of  Passavant,  this  Holy  Family  was  painted  by 
Giulio  Romano,  with  finishing  touches  by  Raphael  in  different  parts.  M.  Emeric- 
David,  who  studied  the  picture  carefully  in  Paris,  does  not  apparently  attribute  any 
part  of  it  to  the  pupil.  He  declares  there  is  "  nothing  more  finished,  nothing  more 
pure,  among  the  works  of  Raphael.  ...  A  masterpiece  of  taste,  this  picture  con- 
tains all  kinds  of  perfection  adapted  to  the  subject ;  and  the  severest  criticism  can 
hardly  detect  in  it  a  fault.  The  composition,  the  design,  the  color,  present  every- 
where a  merit  little  short  of  perfection."  M.  Viardot  also  appears  to  attribute  it 
entirely  to  the  master's  own  hand. 

The  picture  was  painted  for  the  young  patron  of  Raphael,  who  afterwards 
became  Duke  of  Mantua,  and  was  purchased  of  the  duke  by  Charles  I.  of  England 
among  other  pictures.  After  the  death  of  King  Charles,  in  1649,  it  was  bought  by 
the  Spanish  ambassador  for  Philip  IV.,  and  sent  to  Madrid.  When  Philip  saw  it 
for  the  first  time,  he  was  so  enchanted  by  its  beauty  that  he  exclaimed,  "This  is 
my  pearl !  "  by  which  title  it  is  still  designated  in  the  Museum  of  Madrid. 

Painted  on  wood. 


52 


This    is    a 

group, 

and   ez 

Infant 

Jesus 

placed 

upor 

bringin 

g  fr 

who  is 

rai 

Virgin 

lc 

devout 

drape 

face 

bac' 

St 

c 

my  pearl ! 

Painted  on  wood. 


Madonnas  and  Holy  Families.  53 

THE    LARGE    HOLY    FAMILY    OF    THE    LOUVRE. 

This  is  the  largest  painting  of  the  subject  produced  by  Raphael,  and  it  is  a 
work  of  peculiar  excellence.  The  character  portrayed  in  the  different  personages 
composing  the  group,  the  fervent  religious  tone  pervading  the  whole,  and  the  ele- 
vated beauty  and  grace  of  the  figures,  place  it  in  the  highest  rank  among  Raphael's 
oil-paintings.  It  represents  the  Virgin  bending  forward,  and  holding  out  her  arms 
to  the  Child,  who  is  springing  joyfully  from  the  cradle  towards  her.  On  the  left 
kneels  Ste.  Elisabeth  folding  the  hands  of  St.  John,  who  is  before  her,  as  though 
teaching  him  to  adore  the  Infant  Saviour.  St.  Joseph  is  in  the  background,  in  the 
attitude  of  contemplation.  On  the  left  behind  the  group  are  two  angels,  one  with 
her  hands  crossed  upon  her  breast,  the  other  scattering  flowers.  The  picture  was 
formerly  closed  by  two  wings  ;  but  these  have  disappeared.  This  Holy  Family 
was  painted  by  order  of  Lorenzo  de'  Medici,  and  presented  to  Francis  I.  It  bears 
the  date  of  15 18.  In  the  Gallery  of  the  Louvre  it  is  designated  as  La  grande 
Sainte  Famille  de  Francois  Ier. 

Painted  on  wood,   afterwards  transferred  to  canvas.      Height  82  inches,  width  54-3-   inches. 


THE    SMALL    HOLY      FAMILY    OF    THE    LOUVRE. 

DESIGNATED    IN    THE    GALLERY    SIMPLY    'SAINTE   FAMILLE. " 

The  Infant  Christ  is  standing  up  in  his  cradle,  leaning  across  his  mother's 
knees,  and  caressing  the  little  St.  John.  Ste.  Elisabeth  is  kneeling  at  Mary's 
side,  and  presenting  her  son.  The  execution  of  this  picture  has  been  attributed 
to  the  pupils  of  Raphael.  It  was  the  property  of  Adrian  Gouffier,  papal  legate  in 
France  in  15 19.  A  small  wooden  shutter  which  protected  it  from  injury  is  pre- 
served in  the  Louvre  :  upon  it  is  painted  in  grisaille,  by  Francesco  Penni,  a  figure 
of  Plenty,  after  a  sketch  by  Raphael. 

Painted    on   wood.       Height    15    inches,    width    11^   inches. 


54  Raphael. 

THE    HOLY    FAMILY    UNDER    THE    OAK-TREE. 

The  Virgin  is  seated  under  an  oak,  with  the  Child  on  her  lap.  His  face 
is  turned  towards  her ;  but  he  is  leaning  forward  to  put  his  arm  around  St. 
John,  who  is  holding  a  scroll  inscribed  "  Eccc  Agnus  Dei!"  Each  child  rests 
one  foot  upon  the  cradle.  St.  Joseph  is  leaning  upon  a  fragment  of  antique 
architecture  in  the  background.  It  is  supposed  to  have  been  executed  in  part 
by  one  of  Raphael's  pupils.  Passavant  says,  "  As  a  whole,  this  composition  is 
stiff;  and  the  general  style  leads  us  to  suppose  it  to  have  been  painted  by  Fran- 
cesco Penni,  after  a  drawing  by  Raphael."  Upon  the  cradle  is  inscribed  Raphael 
Pinx.  It  is  now  in  the  Madrid  Museum.  There  is  a  copy  in  the  Pitti  Gallery 
in  Florence,  attributed  to  Giulio  Romano,  in  which  there  is  a  lizard  introduced: 
hence  the  picture  has  been  called  La  Madonna  della  Lucertola,  though  there 
is  no  lizard  in  the  one  at  Madrid. 


THE    REPOSE    IN    EGYPT,    OR    IL    RIPOSO. 

This  picture  is  supposed  to  have  been  painted  by  one  of  Raphael's  best 
pupils,  after  his  design.  In  this,  and  in  several  of  the  succeeding  pictures 
described,  it  is  impossible  to  say  which  parts,  if  any,  are  the  work  oi  the 
master's  own  hand.  It  is  impossible,  too,  to  classify  them  chronologically.  It 
would  seem  to  be  appropriate,  however,  to  include  them  in  the  list  of  Raphael's 
Madonnas  and  Holy  Families,  as  they  were  undoubtedly  produced  under  his  direct 
influence,  or  by  his  pupils  and  followers,  in  direct  imitation  of  the  finer  charac- 
teristics of  his  style.  In  the  Riposo  the  Virgin  is  represented  kneeling,  and  hold- 
ing the  Child  in  her  arms.  St.  John  is  kneeling,  and  offering  fruits  to  his  Divine 
Companion.  St.  Joseph,  leading  an  ass  by  the  bridle,  is  bending  forward  to  caress 
St.  John,  or  to  raise  him  up.  The  landscape  background  is  lighted  by  the  setting 
sun.     It  is  in  the  Belvedere  Gallery  at  Vienna. 

Painted   on   wood.      Height   62    inches,   width   46    inches. 


Madonnas  and  Holy  Families.  55 

THE    MADONNA    DEL    PASSEGGIO    (PROMENADE). 

The  original  of  this  picture  is  lost.  Among  the  many  copies  of  it,  the  one 
in  the  Bridgewater  Gallery  in  London  is  considered  the  best,  and  is  attributed  to 
Francesco  Penni.  It  represents  the  Madonna  and  Child  standing  in  a  rich  land- 
scape, the  Child  leaning  against  his  mother,  while  St.  John  approaches  to  embrace 
him.     St.  Joseph  is  seen  at  a  little  distance. 

Figures   full   length,   half  the   size    of    life. 

THE    MADONNA    OF    THE    RUINS. 

A  picture  bearing  this  name,  attributed  to  Raphael,  is  mentioned  by  Passavant. 
It  represents  the  Madonna  and  Child  with  St.  John  among  ruins,  the  Virgin 
holding  the  Infant  Christ  upon  a  fragment  of  cornice,  and  St.  John  offering  a 
rustic  cross ;  St.  Joseph  in  the  background  bearing  a  torch.  It  was  formerly  in 
the  Escurial,  but  it  is  now  in  the  collection  at  Kingston  Hall,  Devonshire,  England. 

Painted   on   wood.      Height   43^   inches,   width   30   inches. 


ECCE    AGNUS    DEI. 

A  picture  in  the  Munro  Collection  in  London,  supposed  to  be  executed  by 
Giulio  Romano,  representing  the  Madonna  holding  the  Child,  with  St.  John  at 
the  side,  offering  a  piece  of  parchment,  which  is  inscribed,  "  Eccc  Agnus  Dei!" 
Other  similar  compositions  are  in  different  collections. 


THE    VIRGIN    WITH    THE    ROSE. 

This  composition   is  similar  to    the    last,    with    St.   Joseph    standing   behind  the 
group,    in    the    attitude    of  contemplation.     A    few   years    since    it  was  cleaned,   and 


5  6  Raphael. 

a  rose  was  added  in  the  lower  part  of  the  picture.     It  is  in  the  Madrid  Museum, 
where  it  is  designated  as  the  Sacra  Familia  de  la  Rosa. 

o 

Painted  on  wood,  afterwards  transferred  to  canvas.  Height  44  inches,  width  36  inches  (Spanish 
measure) . 

THE    VIRGIN    IN    THE    MEADOW. 

The  group  is  in  a  setting  somewhat  in  the  style  of  the  Madonna  in  the 
Meadow,  in  the  collection  at  Vienna.  The  Virgin  is  seated,  holding  the  Child ; 
her  body  turning  towards  the  left,  her  head  towards  the  right,  looking  at  St. 
John,  who  is  kneeling  with  his  rustic  cross,  and  offering  a  scroll  to  Jesus.  The 
original  is  lost.      The  best  copy  is  in  the  collection  at  St.   Petersburg. 


THE    VIRGIN    GIVING    FLOWERS    TO    THE    INFANT    JESUS. 

This  picture  represents  the  Virgin  holding  the  Child  on  her  lap,  and  offer- 
ing him  flowers :  in  one  hand  he  holds  a  book.  The  design  is  supposed  to  be 
Raphael's.  There  are  many  copies  of  this  picture  to  be  met  with  in  different 
collections :    one    of  excellence    is    in    the   Tribune    of  the    Uffizi    in    Florence. 


THE    MADONNA    Dl    SAN    SISTO. 

Raphael's  grandest  legacy  to  his  own  and  succeeding  times  was  the  Madonna 
di  San  Sisto.  This  picture  was  painted  about  15 18,  for  the  Benedictines  of  St. 
Sixtus  at  Piacenza.  They  had  asked  for  a  picture  in  which  should  be  introduced 
the  Virgin  and  Child,  St.  Sixtus,  and  Ste.  Barbara.  It  was  the  last  Madonna 
which  Raphael  painted,  —  the  crowning  work  of  his  genius  in  this  department 
of  religious  art.  On  either  side  are  represented  two  green  curtains  drawn  back, 
which  enclose  the  group.  The  Virgin  stands  with  her  feet  lightly  touching  the 
clouds,   holding  the   Child   in    her  arms.      A  glory  of  angel-heads    surrounds    them. 


Madonnas  and  Holy  Families.  57 

Pope  Sixtus  is  kneeling  on  the  left  in  supplication,  and  pointing  with  his  right 
hand  to  his  earthly  flock.  He  is  richly  clothed  in  white  tunic  and  gold-colored 
pallium  turned  back  with  purple,  and  near  him  on  the  parapet  is  his  tiara.  On 
the  right  kneels  Ste.  Barbara,  looking  downward,  her  hands  folded  upon  her  breast. 
Beyond  her,  at  the  right,  a  portion  of  a  tower  is  to  be  seen,  probably  in  refer- 
ence to  the  legend  of  her  life.  Two  small  angels  of  surpassing  grace  and  beauty 
lean  upon  the  parapet  below.  The  principal  objects  in  the  picture,  as  in  all 
Raphael's  compositions,  are  strikingly  prominent ;  while  the  impression  of  the  whole 
is  of  complete  harmony  and  repose.  The  more  than  mortal  beauty  of  the  glori- 
fied Mother  and  Child,  the  picturesque  arrangement  of  the  drapery,  the  easy  and 
graceful  poise  upon  the  clouds,  the  throng  of  angel  faces  fading  into  air,  —  all 
combine  to  render  it  one  of  the  most  enchanting  and  poetic  creations  of  religious 
art.  It  is  the  work  of  Raphael's  latest  and  best  time,  and  is  entirely  by  his  own 
hand.  No  sketch  or  study  of  any  part  of  it  has  ever  been  found,  which  seems 
to  prove  that  it  was  sketched  in  a  moment  of  inspiration.  Passavant  says  of  it, 
"The  Madonna  di  San  Sisto  is  indeed  an  apparition,  clothed  in  the  forms  of 
nature,  but  animated,  and  to  some  extent  rendered  divine,  by  the  genius  of  the 
most  ideal  artist  that  God  has  ever  created.  This  Madonna  is  certainly  the  work 
which  contributed  most  to  procure  Raphael  the  surname  of  '  the  divine.'  Even 
in  its  technical  part  it  does  not  resemble  any  of  the  other  works  of  Raphael. 
Although  its  execution  is  of  extreme  simplicity,  it  has  none  of  that  art  which  is 
only  formed  for  delighting  the  eye.  All  in  it  is  seen  by  the  light  of  enthu- 
siasm ;  and  but  for  the  little  angels  at  the  bottom,  painted  as  an  afterthought 
on  the  clouds,  we  should  scarcely  see  a  trace  of  human  hands  in  the  picture." 
Some    are    of   the    opinion,    that   since   the   painting  was   on   canvas,    instead   of 

on  panel,   it  was   intended  for  a   procession   picture.     This   does   not   seem   likely,  as 

# 

it  is  in  every  way  more  appropriate  for  an  altar-piece  than  for  a  banner,  and 
there  appears  to  be  no  reason  for  believing  that  it  was  not  intended  to  adorn 
the  principal  altar  in  S.  Sisto,  as  Yasari  distinctly  states.  Dr.  Hlibner  of  Dresden 
says,   "The    circumstance    that    the    picture,   contrary   indeed   to    the    custom    of  the 


5  8  Raphael. 

time  and  to  Raphael's  own  habit,  was  painted  on  canvas,  cannot  alone  justify  such 
an  assumption,  —  one  quite  inconsistent  with  the  high  position  of  the  great  artist, 
and  with  the  almost  idolatrous  veneration  with  which  he  was  regarded  by  his  patron 
the  Pope,  by  Rome,  by  Italy,  and  by  his  entire  age.  With  all  the  value  that  was 
at  that  time  attached  to  every  thing  connected  with  the  ceremonies  of  the  church, 
there  is  no  instance,  so  far  as  I  know,  of  the  employment  of  so  celebrated  a 
master  for  such  a  work  ;  and,  if  such  had  really  occurred,  the  painters  of  the  six- 
teenth century  were  possessed  of  common  sense  enough  to  prevent  their  employing 
such  carefully  executed  paintings  as  the  one  in  question  for  a  purpose  that  would 
in  a  short  time  inevitably  have  caused  their  destruction.  The  age  of  Leo  also  was 
the  farthest  removed  from  any  such  over-pious  luxury,  and  would  have  been  the 
least  of  all  inclined  to  appropriate  such  a  work  to  such  a  purpose.  Independent 
of  the  fact  that  canvas  was  at  that  time  already  coming  into  general  use,  and 
could  have  been  new  to  Raphael  only  as  regards  its  use  in  oil-painting,  since  it 
had  been  employed  from  the  earliest  times  for  tempera  pictures,  and,  besides  the 
charm  of  novelty,  had  undoubted  advantages  for  a  picture  intended  for  transport, 
the  very  considerable  size  of  the  painting  is  strongly  against  the  supposition  that 
it  was  intended  for  processional  uses." 

The  picture  was  seen  by  Yasari  in  the  church  of  the  San  Sisto  Monastery, 
at  Piacenza,  about  the  middle  of  the  sixteenth  century.  In  1711-12  Augustus  III. 
of  Saxony,  then  Crown  Prince,  while  journeying  in  Italy,  saw  it,  and  with  enthu- 
siastic admiration  determined  to  become  the  possessor  of  it  if  possible.  It  was 
more  than  forty  years  later  when  he  succeeded  in  obtaining  it,  through  the 
agency  of  the  artist  Giovannini,  who  purchased  it  for  twenty  thousand  ducats, 
stipulating  for  a  copy  of  the  size  of  the  original  to  take  its  place.  In  1754  it 
was  removed  from  the  altar  where  it  had  remained  for  over  two  hundred  years, 
and  taken  to  Dresden,  where  it  was  received  with  great  pomp.  The  Elector 
ordered  it  immediately  unpacked,  and  placed  for  exhibition  in  the  large  recep- 
tion-room of  the  palace  ;  and,  as  the  place  occupied  by  the  throne  was  the  most 
favorable    and   best-lighted    place    for    the    picture,    he    ordered    the    removal    of   the 


Madonnas  and  Holy  Families. 


59 


throne,  assisting  with  his  own  hand,  exclaiming,  "  Make  room  for  the  great 
Raphael ! "  It  has  since  been  carefully  cleaned  and  restored.  The  upper  part  of 
the  curtain  and  a  part  of  the  glory  of  angels  had  been  turned  back :  this  was 
unfolded,  and  the  picture  restored  to  its  original  size  and  effect.  It  is  the  chief 
ornament  of  the  Dresden  Gallery ;  and,  since  the  completion  of  the  New  Museum, 
it  has  been  placed  in  a  cabinet  by  itself,  upon  a  sort  of  altar,  where  it  is  seen 
to   great    advantage. 

The  Madonna  di  San  Sisto  has  been  engraved  by  several  of  the  great 
masters  of  engraving.  Those  of  Miiller  and  Steinla  are  especially  fine.  The  latest, 
and  one  of  great  excellence,  is  by  Joseph  von  Keller  of  Dusseldorf,  who  also 
engraved  Raphael's  Disputa.  He  was  engaged  for  twelve  years  upon  his  engrav- 
ing of  the  Madonna ;  and  it  proved  to  be  the  crowning  work  of  his  life,  as  he 
died  soon  after  its  completion.  But  no  engraving  or  copy  can  reproduce  the 
lofty,  spiritualized  beauty  of  the  original.  We  stand  before  it  entranced  by  its 
mysterious  power  and  beauty,  and  the  echo  of  our  impressions  seems  to  haunt 
us  ever  after. 

Painted   on   canvas.      Height    104J   inches,    width    77^   inches. 


s^p. 


sr^ 


RAPHAEL   AS    A    SCULPTOR. 


JHE  resources  of  Raphael's  genius  were  not  exhausted  by  painting 
and  architecture.  A  few  works  in  sculpture  were  executed  by  him, 
probably  about  15 13.  The  second  chapel  of  S.  Maria  del  Popolo  in 
Rome  was  constructed  by  Raphael  for  Agostino  Chigi,  and  in  part 
ornamented  with  pictures  and  sculpture,  though  neither  artist  nor  patron  lived  to 
see  it  completed.  According  to  Raphael's  design,  the  cupola  of  the  chapel  was 
to  be  adorned  with  mosaics  representing  the  history  of  Adam  from  the  creation  to 
the  fall  of  man  :  the  coming  of  the  Messiah  to  be  represented  by  four  prophets 
in  marble  ;  namely,  Jonah,  Habakkuk,  Daniel,  and  Elijah.  In  this  portion  of  the 
work  he  was  assisted  by  the  Florentine  sculptor  Lorenzetto.  The  statue  of  Jonah 
is  generally  believed  to  be  the  work  of  Raphael's  .own  hand.  Some,  however,  are 
of  the  opinion  that  the  design  and  the  model  were  his  own,  but  that  the  exe- 
cution was  the  work  of  Lorenzetto.  The  Elijah  is  by  Lorenzetto,  and  is  quite 
inferior  to  the  Jonah,  though  the  design  of  this  is  also  attributed  to  Raphael.  The 
figure  of  Jonah  is  of  great  beauty  of  form,  and  of  fine  finish.  The  two  remaining 
statues  were  executed  at  a  later  period,  by  Bernini. 

A  group  representing  a  wounded  boy  borne  through  the  waves  by  a  dolphin 
was  modelled  by  Raphael,  and  executed  in  marble  by  Lorenzetto.  Nothing  is  known 
with  certainty  of  the  fate  of  the  original.     In  a  letter  of  Count  Castiglione,  written 


60 


V 


Raphael  as  a  Sculptor. 


61 


May  8,  1523,  to  his  intendant  at  Rome,  he  alludes  to  this  work:  "I  wish  to  know 
if  Giulio  Romano  has  still  the  'Young  Boy'  in  marble,  by  the  hand  of  Raphael, 
and  the  lowest  price  at  which  he  would  allow  me  to  have  it."  Cavaceppi,  author 
of  "  Raccolta  d'antichc  statue"  had  at  one  time  in  his  possession  a  group  of  this 
subject,  which  later  became  the  property  of  the  Earl  of  Bristol,  Bishop  of  Deny, 
and  is  now  at  Down  Hill  in  Ireland.  Casts  or  copies  of  the  work  are  to  be  seen 
in  different  collections  in  Europe. 

A  beautiful  female  bust,  modelled  in  wax,  sometimes  called  a  Madonna,  now 
in  the  Wicar  Collection  at  Lille,  has  been  attributed  to  Raphael ;  but  its  authenticity 
is  questioned. 

In  the  latter  part  of  his  life,  Raphael  made  a  design  for  a  medal,  with  the 
effigy  of  Lorenzo  de'  Medici,  during  the  residence  of  that  prince  in  Rome. 


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^i^    -<Li>rt    -»i^i. 


RAPHAEL    AS   A    POET. 


EVERAL  sonnets  are  found  written  upon  Raphael's  sketches  and 
studies  for  the  frescos  in  the  Vatican,  preserved  in  different  collec- 
tions. They  are  of  no  great  poetic  merit  ;  yet  there  is  a  warmth  of 
sentiment  and  a  certain  musical  charm  to  be  found  in  them,  and  they 
are  interesting  mementos  of  this  richly  gifted  nature.  The  original  of  the  following 
sonnet  is  preserved  in  the  British  Museum.  A  copy  of  it,  with  slight  variation,  is 
in  the  Albertine  Collection  in  Vienna. 

"  Un  pensier  dolce  e  rimembrare  e  godo 

Di  quello  asalto,  ma  piu  gravo  el  danno 

Del  partir,  ch'  io  restai  como  quei  c'   anno 

In   mar  perso  la  Stella,  s'  el  ver  odo. 
O  lingua  di  parlar  disogli  el  nodo 

A  dir  di  questo  inusitato  inganno 
Ch'amor  mi  fece  per  mio  grave  afanno 

Ma  lui  piu  ne  ringratio,  e  lei  ne  lodo. 
L'  ora  sesta  era,  che  1'  ocaso  un  sole 

Aveva  fatto,  e  1'  altro  surce  in  locho 

Ati  piu  da  far  fati,  che  parole. 
Ma  io  restai  pur  vinto  al  mio  gran  focho 

Che  mi  tormenta,  che  dove  1'  on  sole 

Diserar  di  parlar,  piu  riman  fiocho." 

62 


§@j*jjn-^- -.k— ; '-b—i\  --^k-^^-tJ^— ^k— ^L-    ^    'I-    'is-^^.a^SA^iyf'f^-  -■>  ■  L- 


=  !     £ 


SELECTIONS    FROM    RAPHAEL'S 
CORRESPONDENCE. 


To  my  dear  Uncle  Simone  di  Battista  de'  Ciarla  da  Urdino, 
dear  to  me  as  a  Father :  — 

HAVE  received  the  letter  in  which  you  announce  the  death  of  the 
duke.  May  God  receive  his  soul  with  mercy  !  Truly  I  was  unable 
to  read  your  letter  without  tears.  But  it  is  all  over :  nothing  can 
be  changed.  This  is  why  we  must  submit  to  the  will  of  God. 
I  have  lately  written  to  my  uncle  the  priest,  that  he  send  me  the  small  pic- 
ture serving  as  a  wing  to  the  "Madonna"  of  our  prefect  [Giovanna  clella  Rovere]. 
But  he  has  not  done  so.  I  pray  you,  then,  to  remind  him  again,  and  that  he  send 
it  me  on  the  first  opportunity,  in  order  that  I  may  content  that  lady ;  lor  you 
know  that  I  ma)-  presently  have  need  of  her.  I  pray  you,  also,  very  dear  uncle, 
to  tell  the  priest  and  Santa,  that  if  the  Florentine  Taddeo,  of  whom  we  have  fre- 
quently spoken,  come  to  Urbino,  they  show  him  every  possible  honor,  without 
sparing  any  thing.  You  also,  for  love  of  me,  render  him  every  service  he  may 
require  ;    for  truly  I   am  under  the  greatest  obligations  to  him. 

I  have  not  fixed  any  price  for  my  picture,  and  shall  not  do  so,  even  when  I 
am  able  ;  for  it  would  be  better  for  me  that  an  estimation  should  be  made  of  it. 
This  is  why  I  have  not  written  the  price,  and  shall  not  write  it.  I  have  no  other 
news  to  give  you,   unless  it  be  that  he  who   ordered   the   picture   from   me   has   also 

63 


64  Raphael. 

promised  me  works  to  the  value  of  three  hundred  ducats,  as  well  for  here  as  for 
France.  After  the  feasts,  I  will  perhaps  write  you  to  what  price  the  picture 
mounts,  for  which  I  have  ahead)'  made  the  cartoon  ;  and  after  Easter  we  shall 
have  completed  it. 

I  should  much  like  to  obtain  from  the  signora  prefect  a  letter  of  recommen- 
dation to  the  gonfalonier  of  Florence.  A  few  days  since,  I  begged  my  uncle  and 
Giacomo  of  Rome  to  procure  it  for  me ;  for  it  might  be  very  useful  to  me  in 
procuring  some  work  in  a  room  which  depends  on  his  Highness.  I  beg  you,  then, 
to  send  me  this  letter  if  possible ;  and  I  believe,  that,  if  it  is  asked  for  in  my 
name,  he  will  certainly  have  it  written.  Recommend  me  to  him  as  his  old  servant 
and  friend.  Recommend  me  also  to  the  master,  and  to  Ridolfo,  and  to  all  the 
others. 

Your    RAFAEL, 

Painter  at  Florence. 
This  XXI  April,  MDVIII. 


LETTER    TO    THE    PAINTER,    FRANCESCO    FRANCIA    OF    BOLOGNA. 

Dear  Messer  Francesco,  —  I  have  just  received  your  portrait,  brought  to  me 
by  Bazzotto,  in  excellent  condition,  and  without  any  damage  whatever.  I  thank 
you  most  heartily  for  it.  It  is  most  beautitul,  and  so  full  of  life,  that  I  sometimes 
deceive  myself,  and  think  you  yourself  are  with  me,  and  that  I  hear  you  speak.  I 
entreat  your  indulgent  excuse  that  I  have  so  long  delayed  sending  you  my  own, 
which,  from  continuous  and  most  important  occupations,  I  have  not  as  yet  been 
able  to  finish  with  my  own  hands,  as  I  promised  you  I  would  do.  I  might,  in- 
deed, have  sent  you  one  done  by  a  pupil,  and  retouched  by  myself,  but  this  would 
have  been  most  wrong ;  though,  let  who  may  paint  it,  the  result  will  not  equal  the 
merit  of  your  work.  Excuse  me,  therefore,  you  who  know  from  frequent  experi- 
ence what  it  is  to  live  deprived  of  one's  liberty,  and  at  the  command  of  patrons, 
who,  when  they  need  you  not,  lay  you   aside.     Meantime,  I   send  you   by  Bazzotto, 


Selections  from  Raphael's  Correspondence.  65 

who  tells  me  he  will  return  in  a  week,  another  drawing  of  the  "  Presepio,"  very 
different,  as  you  will  see,  from  the  one  completed,  and  which  you  were  pleased  to 
commend  so  highly,  as  indeed  you  do  with  respect  to  all  my  works,  covering  me 
with  blushes.  I  am  ashamed  of  the  trifle  I  send  you,  but  you  will  value  it  more 
as  a  token  of  love  and  respect  than  for  any  other  reason.  If,  in  return,  you  give 
me  a  drawing  of  your  Judith,  I  shall  place  it  among  my  dearest  and  most  precious 
treasures. 

Monsignor  the  Datary  is  anxiously  expecting  his  little  "Madonna;"  and  Cardinal 
Riario  his  large  one,  as  you  will  hear  from  Bazzotto.  I  also  shall  view  them  with 
that  satisfaction  and  enjoyment  which  all  your  previous  productions  have  given  me, 
—  productions  which  no  artist  has  surpassed  in  beauty  and  in  the  expression  of 
devotional  feeling.  Farewell !  Be  of  good  courage ;  pursue  the  wise  course  you 
have  hitherto  adhered  to,  and  be  assured  that  I  feel  your  sorrow  as  my  own.1 
Continue  to  love  me  as   I   love  you. 

Ever  by  serving  you, 

RAPHAELLO. 

Rome,    Sept.    5,    150s. 

LETTER    WRITTEN     BY    RAPHAEL    AT    ROME    TO    HIS    UNCLE,    ANNOUNCING 
HIS    INTENDED    MARRIAGE    WITH     MARIA    DA    BIBIENA. 

To  my  Uncle,  dear  to  me  as  a  Father,  Simone  di  Battista  de' 
Ciarla  da  Urbino,  at  Urbino :  — 

I  have  received  your  dear  letter,  and  am  happy  to  see  by  it  that  you  are  not 
angry  with  me  ;  though,  indeed,  you  would  be  wrong,  if  you  consider  how  difficult 
it  is  to  write  without  a  serious  motive.  To-day,  as  there  is  something  of  impor- 
tance to  say,   I   reply  to  you  at  once. 

In  the  first  place,  as  to  taking  a  wife,  I  will  say  in  regard  to  her  whom  you 
destined  for  me  that  I  am  very  glad,  and  thank  God,  for  not  having  taken  either 
her  or  another ;    and   in   this   I    have  been  wiser  than  you  who  wished   to  give  her 

1    This   was   probably   in   reference   to  the   exile   from   Bologna  of  Francia's   patron,    Giovanni    Bentivoglio. 


66  Raphael. 

to  me.  I  am  convinced  that  you  see  yourself  that  I  should  not  have  got  on  as  I 
have  done.  I  have  already  property  at  Rome  to  the  amount  of  three  thousand 
ducats  of  gold,  and  an  income  of  fifty  ducats.  Then  his  Holiness,  our  Lord,  has 
proposed  to  me  some  works  in  the  Church  of  St.  Peter,  with  a  salary  of  three 
hundred  ducats  of  gold,  which  will  not  fail  me  as  long  as  I  live.  This  is  not  all. 
Besides  this,  they  will  pay  me  for  my  work  whatever  may  seem  right  to  me. 
The  paintings,  also,  in  another  hall  that  I  have  undertaken,  will  produce  twelve 
hundred  ducats  of  gold.  Thus,  then,  dear  uncle,  I  am  doing  honor  to  you  as 
well  as  to  my  other  relations  and  to  my  native  town.  I  bear  you  continually 
in  my  heart,  and  when  I  hear  you  mentioned  it  seems  as  if  I  heard  my  father 
named.  Do  not  complain  of  me,  then,  if  I  do  not  write  oftener ;  since  it  should 
be  rather  I  to  complain  of  you,  who  have  a  pen  in  your  hand  all  day,  and  yet 
allow  six  months  to  pass  between  one  letter  and  another.  Notwithstanding  all, 
however,    I    am    not    angry   with    you,    as   you    are    unjustly   with    me. 

I  had  left  off  speaking  of  my  marriage,  but  return  to  it  to  tell  you  that 
the  Cardinal  of  Santa  Maria  in  Portico  wishes  to  give  me  one  of  his  relations, 
and  that  with  the  consent  of  my  uncle  the  priest,  and  your  consent,  I  have  placed 
myself  at  the  disposition  of  his  lordship.  I  cannot  withdraw  my  word.  We  are 
nearer  than  ever  to  the  conclusion,  and  I  will  inform  you  immediately  of  every 
thing.  Do  not  be  vexed  if  this  affair  end  well ;  but,  if  it  should  not,  I  will  do 
what  you  wish.  And  know,  that,  if  Francesco  Buffa  finds  good  matches,  I  can 
do  so  too;  for  I  might  have  a  beautiful  young  lady  at  Rome,  —  and,  by  what  I 
hear,  both  herself  and  her  relations  of  good  reputation,  —  with  a  dowry  of  three 
thousand  scudi  of  gold ;  and  be  sure  that  one  hundred  crowns  at  Rome  are 
worth    more    than    two    hundred    at    Urbino. 

As  to  my  sojourn  in  Rome,  I  cannot,  from  love  for  the  works  of  St.  Peter's, 
remain  long  elsewhere ;  for  I  have  at  present  the  place  of  Bramante.  And  what 
city  in  the  world  is  worthier  than  Rome  ?  and  what  enterprise  greater  than  St. 
Peter's,  the  first  temple  in  the  world  ?  It  is  the  greatest  building  ever  seen,  and 
will  cost  more  than  a  million  of  gold.     The  Pope  has  granted  sixty  thousand  ducats 


Selections  from  Raphael's  Correspondence.  67 

a   year   for    the   works,    and    he    thinks    of  nothing   else.      He    has   given    me    as    a 

colleague   a  very  learned    frate,   of  at  least  eighty  years  of  age,   and  who  has   not 

long    to    live.      His    Holiness    gave    me    this    man    of    great    reputation    and   great 

learning  for  a  colleague,  that  I  might  profit  by  him,  and,  if  he  has  a  noble   secret 

in    architecture,   that    I    might   learn    it   also,   and    thus  attain   perfection   in   the  art. 

He  is  named  Fra   Giocondo   [da  Verona].     The   Pope   sends  for  us  every  day,  and 

speaks    to    us    for    some    time    about    the    works.      I    pray   you    to   go    to    the    duke 

and    duchess,  and    tell    them    all    this ;    for    I    know  that    it   gives    them  pleasure  to 

hear   that   one    of  their   subjects    is  doing  them   honor ;    and  commend  me   to  their 

Highnesses,  as  I  also  commend  myself  to  you.     Salute  all  my  friends  and  relations 

in    my    name,    and    especially    Ridolfo,    who    bears    such    great    and    kind    affection 

to    me. 

Your  RAFAEL, 

Painter   at   Rome. 
T«is   July   ist,   1514. 


THE    APPOINTMENT    OF    RAPHAEL    AS    ARCHITECT    OF    ST.    PETER'S, 

BY    POPE    LEO    X.,    IN     1514. 

To   Raphael   of   Urbino. 

Besides  the  art  of  painting,  in  which  you  are  universally  known  to  excel,  you 
were,  by  the  architect  Bramante,  equally  esteemed  for  your  knowledge  in  that  pro- 
fession ;  so  that,  when  dying,  he  justly  considered  that  to  you  might  be  confided 
the  construction  of  that  temple  which  by  him  was  begun  in  Rome  to  the  prince 
of  the  apostles ;  and  you  have  learnedly  confirmed  that  opinion  by  the  plan  for 
that  temple  requested  of  you.  We,  who  have  no  greater  desire  than  that  the 
temple  should  be  built  with  the  greatest  possible  magnificence  and  despatch,  do 
appoint  you  superintendent  of  that  work,  with  the  salary  of  three  hundred  golden 
crowns  per  annum  out  of  the  money  laid  aside  for  the  said  construction.  And 
we  order  that  you  be   paid  punctually  every  month,  or,  on  your  demand,  the  pro- 


6S  Raphael. 

portion  due.  We  exhort  you  to  undertake  the  charge  of  this  work  in  such  a 
manner,  that  in  executing  it  you  have  due  regard  to  your  own  reputation  and 
good  name,  for  which  things  the  foundation  must  be  laid  in  youth.  Let  your 
efforts  correspond  to  our  hope  in  you,  to  our  paternal  benevolence  towards  you, 
and,  lastly,  to  the  dignity  and  fame  of  that  temple, — even  the  greatest  in  the 
whole  world,  and  most  holy,  —  and  to  our  devotion  for  the  prince  of  the  apostles ! 

Rome,  August   ist,  the  second  year  of  our  Pontificate. 


Raphael  often  received  suggestions  and  assistance  in  his  work  from  the  learned 
and  amiable  Count  Baldassare  Castitrlione,  with  whom  he  had  formed  an  intimate 
friendship  at  the  court  of  Urbino.  The  following  letter  is  in  reply  to  a  commu- 
nication from  Count  Castiglione  to  Raphael  while  he  was  occupied  with  the  frescos 
of  the  Chigi  Palace  in  Rome :  — 

■ 
Signor  Count. 

I  have  made,  in  different  styles,  several  drawings  from  the  suggestions  of  your 
lordship.  Every  one  is  pleased  with  them,  if  every  one  does  not  flatter  me. 
But  in  my  own  judgment  I  could  not  be  satisfied,  for  I  fear  not  to  satisfy  you. 
I  send  you  these  drawings  that  your  lordship  may  choose,  if  one  be  found  worthy 
of  you.  Our  Lord  [the  Pope],  by  giving  me  an  honor,  has  imposed  a  great 
burden  on  my  shoulders.  This  is  the  care  of  the  works  for  St.  Peter's.  I  hope 
not  to  fail  in  it,  the  more  so  as  my  model  pleases  his  Holiness  and  many  other 
distinguished  persons.  But  my  thoughts  rise  higher.  I  want  to  find  the  beautiful 
forms  of  ancient  buildings.  I  do  not  know  whether  it  will  be  a  flight  of  Icarus. 
Vitruvius    gives    me    some    light,    yet    not    sufficient. 

As  for  the  "  Galatea,"  I  should  think  myself  a  great  master  if  it  possessed 
one-half  the  merits  of  which  you  write ;  but  I  read  in  your  words  the  love  you 
bear  to  myself.  To  paint  a  figure  truly  beautiful,  I  should  see  many  beautiful 
forms,    with    the    further   provision    that   you    should  yourself  be    present    to    choose 


68 


n 


Selections  from  Raphael's  Correspondence.  69 

the  most  beautiful.  But,  good  judges  and  beautiful  women  being  rare,  I  avail 
myself  of  certain  ideas  which  come  into  my  mind.  If  this  idea  has  any  excellence 
in  art,  I  know  not,  although  I  labor  heartily  to  acquire  it. 

I  commend   myself  to  your  lordship, 

From   Rome, 

RAFAEL. 

After  his  appointment  as  architect  of  St.  Peter's,  Raphael  devoted  himself 
to  the  work  with  great  zeal.  He  employed  the  learned  Marco  Fabio  Calvo  of 
Ravenna  to  translate  the  architectural  writings  of  Vitruvius  into  Italian,  to  be  used 
in  his  studies ;  and  the  work  was  done  in  the  artist's  own  house  in  Rome.  This 
valuable  manuscript  translation  is  now  in  the  library  at  Munich.  Upon  it  are 
various  marginal  notes  by  the  hand  of  Raphael.  Calcagnini,  the  first  secretary 
of  Pope  Leo  X.,  wrote  the  following  particulars  of  the  relations  between  the 
artist  and  the  aged  scholar  to  Jakob  Ziegler,  the  celebrated  theologian  and  mathe- 
matician,   near   the    close    of  Raphael's    life:  — 

"  Fabius  of  Ravenna  is  an  old  man  of  stoical  probity,  and  of  whom  it  would 
be  difficult  to  say  whether  his  learning  or  affability  is  the  greater.  .  .  .  This  most 
holy  man  has  this  peculiar  and  very  uncommon  quality  of  despising  money  so 
much  as  to  refuse  it  when  offered  to  him,  unless  forced  to  accept  it  by  the  most 
urgent  necessity.  However,  he  receives  from  the  Pope  an  annual  pension,  which 
he  divides  amongst  his  friends  and  relations.  .  .  .  He  is  cared  for  as  a  child  by 
the  very  rich  Raphael  da  Urbino,  who  is  so  much  esteemed  by  the  Pope.  He 
is  a  young  man  of  the  greatest  kindness  and  of  an  admirable  mind.  He  is 
distinguished  by  the  highest  qualities.  Thus  he  is,  perhaps,  the  first  of  all  the 
painters,  as  well  in  theory  as  in  practice.  Moreover,  he  is  an  architect  of  such 
rare  talent,  that  he  invents  and  executes  things  which  men  of  the  greatest  genius 
deemed  impossible.  I  make  an  exception  only  in  Vitruvius,  whose  principles  he 
does  not  teach,  but  whom  he  defends  or  attacks  with  the  surest  proofs,  and  with 
so    much    grace,    that    not    even    the    slightest    envy    mingles    in    his    criticism.      At 


jo  Raphael. 

present  he  is  occupied  with  a  wonderful  work,  which  will  be  scarcely  credited  by 
posterity  (I  do  not  allude  to  the  basilica  of  the  Vatican,  where  he  directs  the 
works)  :  it  is  the  town  of  Rome,  which  he  is  restoring  in  almost  its  ancient 
grandeur ;  for  by  removing  the  highest  accumulations  of  earth,  digging  down  to 
the  lowest  foundations,  and  restoring  every  thing  according  to  the  descriptions  of 
ancient  authors,  he  has  so  carried  the  Pope  Leo  and  the  Romans  along  with  him, 
as  to  induce  every  one  to  look  on  him  as  a  god  sent  from  heaven  to  restore 
to  the  ancient  city  her  ancient  majesty.  With  all  this  he  is  so  far  from  being 
proud,  that  he  comes  as  a  friend  to  every  one,  and  does  not  shun  the  words 
and  remarks  of  any  one.  He  likes  to  hear  his  views  discussed,  in  order  to  obtain 
instruction  and  to  instruct  others,  which  he  regards  as  the  object  of  life.  He 
respects  and  honors  Fabius  as  a  master  and  a  father,  speaking  to  him  of  every 
thing,    and    following   his    counsels."  .  .  . 


EXTRACT  FROM  A  LETTER  WRITTEN  BY  A  NOBLE  VENETIAN  IN  ROME, 
MARCANTONIO  MICHIEL  DE  SER  VETTOR,  TO  ANTONIO  Dl  MARSILIO 
AT    VENICE,    APRIL    II,     1520. 

"  Ox  Good-Friday  night  .  .  .  died  the  noble  and  excellent  painter,  Raphael 
da  Urbino.  His  death  caused  universal  sorrow,  especially  amongst  learned  men, 
for  whom  more  especially,  although  also  for  painters  and  architects,  he  had  drawn 
in  a  book,  as  Ptolemy  drew  the  configuration  of  the  world,  the  ancient  build- 
ings of  Rome,  with  their  proportions,  forms,  and  ornaments,  and  so  faithfully,  that 
he  who  has  seen  these  drawings  might  almost  assert  that  he  had  seen  ancient 
Rome.  .  .  .  But  death  interrupted  this  noble  and  glorious  enterprise.  ...  In  truth, 
an  incomparable  master  no  longer  exists.  .  .  .  He  has  been  interred  in  the 
Rotunda,  where  he  was  borne  with  great  honors.  His  soul  has  doubtless  gone 
to  contemplate  the  edifices  in  heaven,  which  are  not  subject  to  destruction.  His 
name  and  memory  will  long  live  in  his  works  and  in  the  remembrance  of  all 
honest   men." 


Selections  from  Raphael 's  Correspondence.  7 1 

Count    Castiglione,    in    a   letter   addressed    to    his    mother,    wrote,  — 


& 


"  I  am    in   good    health ;    but    it    seems    as    if  I  were    not    in    Rome,  since    my 
poor   Raphael   is   here   no   longer.     May   his   blessed   soul   be   with    God ! " 


The    following    epitaph    was    written    for    the    tomb    of    Raphael    by    Cardinal 
Bembo  :  — 

D.  0.  M. 

RAPHAELI  .  SANCTIO  .  I0ANN  .  F  .  URBINATI 

PICTORI  .  EMINENTISS  .  VETERVMQ  .  AEMVLO 

CVIVS  .  SPIRANTES  .  PROPE  .  IMAGINES  .  SI 

CONTEMPLERE    NATURAE  .  ATQVE  .  ARTIS  .  FOEDVS 

FACILE  .  INSPEXERIS 

IVLII    II  .  ET   LEONIS  .  X  .  PONT  .  MAXX  .  PICTVRAE 

ET  .  ARCHITECT  .  OPERIBVS  .  GLORIAM  .  AVXIT 

VIX  .  ANNOS   .  XXXVIII  .   INTEGER  .  INTEGROS 

QUO   .   DIE  .  NATVS  .   EST  .  EO  .  ESSE  .   DESIIT 

VIII   .   ID   .  APRILIS  .  MDXX. 

ILLE   HIC   EST   RAPHAEL  TIMVIT   QVO   SOSPITE   VINCI 

RERVM    MAGNA   PARENS   ET    MORIENTE    MORI. 


^~Ti<S"    6^3      6£>      ifp~~S!p       ^~ ^       ^       e^Tj^- ^"^l       6*3       6j(3    ~^~    6j§       S#3      6^~^^Jj>      (t£>      ^ 


CHRONOLOGICAL    CATALOGUE 


OF 


RAPHAEL'S    MADONNAS    AND    HOLY    FAMILIES. 


;.  gy\  ^S^jl  H E  Madonna  of  the  Solly  Col- 
lection    . 
The     Madonna     of      Countess 
Alfani      .... 

The  Madonna  with  SS.  Jerome  and  Francis 
The  Madonna  of  Count  Staffa  (Conestabile), 
The  Madonna  of  the  Diotalevi  Family. 
The  Madonna  del  Gran  Duca  . 
The  Madonna  of  the  Dukes  of  Terranuova 
The  Madonna  of  Lord  Cowper  (small)     . 
The  Madonna  of  St.  Anthony  . 
The  Madonna  of  the  Ansidei  Family 
The  Madonna  del  Cardellino  (Goldfinch) 
The  Madonna  in  the  Meadow  (Al  Verde) 
The  Holy  Family  under  the  Palm-Tree 
The    Holy    Family   with    the    Beardless    St 
Joseph         ...... 

The  Madonna  della  Tempi 


Museum,  Berlin. 

Collection  of  Countess  Beatrice  Fabrizi,  Term'. 

Museum,  Berlin. 

Hermitage,  St.  Petersburg. 

Museum,  Berlin. 

Pitti  Gallery,  Florence. 

Museum,  Berlin. 

Collection  of  Lord  Cowper,  Pansliangcr. 

National  Gallery,  Loudon. 

Collection  of  Duke  of  Marlborough,  Blenheim. 

Tribune  of  the  Uffizi,  Florence. 

Belvedere,  I  lenna. 

Bridgcwatcr  Gallery,  London. 

Hermitage,  St.  Petersburg. 
Pinakothek,  Man  ich. 


73 


74 


Raphael. 


The  Madonna  of  the  Orleans  Gallery  . 
The  Holy  Family  of  the  Canigiani  Family, 
The   Holy   Family   with    Jesus    seated   on   a 

Lamb 

The  Madonna  with  the  Pink    .... 

The  Madonna  with  the  Pink  (copy) 

The   Madonna    della    Casa    Niccolini    (Large 

Cowper)        ....... 

The  Madonna  with  the  Sleeping  Child 

The  Madonna  di  Casa  Colonna 

La  Belle  Jardiniere  ...... 

The  Madonna  del  Baldacchino  (di  Pescia) 

The  Madonna  of  the  Esterhazy  Gallery 

The  Madonna  of  the  Alba  Family 

The  Madonna  of  the  Aldobrandini  Family    . 

The  Madonna  di  Loreto    . 

The  Madonna  di  Loreto  (copy) 

The  Madonna  di  Loreto  (copy) 

The  Madonna  of  the  Diadem    . 

The  Madonna  di  Foligno  . 

The  Madonna  of  the  Bridgewater  Gallery  . 

The  Madonna  with  Jesus  standing  . 

The  Madonna  del  Divino  Amore  (Holy  Family 

of  Naples)   ....... 

The  Madonna  dell'  Impannata 

The  Madonna  del  Pesce  (of  the  Fish) 

The  Madonna  della  Sedia  (of  the  Chair) 

The  Madonna  della  Tenda  (of  the  Curtain), 

The  Madonna  with  the  Candelabra 

The  Holy  Family  called  the  Pearl 

The    Large    Holy    Family    of    the    Louvre 

(called  La  Grande  Saintc  Famille  de  Fran- 

qois  Ier)  ....... 


Collection  of  Due  d' Aumalc,  Cliantilly. 
Pinakotlick,  Municli. 

Museum,  Madrid. 

Lost. 

Collection  of  Count  Spada,  Lucca. 

Collection  of  Lord  Cowper,  Panshanger. 
Lost. 

Museum,  Berlin. 
Louvre,  Paris. 
Pitti  Gallery,  Florence. 
Academy,  Pestli. 
Hermitage,  St.  Petersburg. 
National  Gallery,  Loudon. 
Lost. 

Louvre,  Paris. 
Museum,  Naples. 
Louvre,  Paris. 
Vatican,  Rome. 

Bridgewater  Gallery,  Loudon. 
Collection  of  Lady  Burdett-Coutts,  London. 

Museum,  Naples. 
Pitti  Gallery,  Florence. 
Museum,  Madrid. 
Pitti  Gallery,  Florence. 
Pinakotlick,  Munich. 
Munro  Collection,  Loudon. 
Museum,  Madrid. 


Louvre,  Paris. 


Chronological  Catalogue. 


75 


The    Small    Holy    Family    of    the    Louvre 

(called  Sainte  Famille) 
The  Holy  Family  under  the  Oak-Tree  . 
The  Repose  in  Egypt  (II  Riposo) 
The  Madonna  del  Passeggio  (Promenade) 
The  Madonna  del  Passeggio  (copy)  . 
The  Madonna  of  the  Ruins 
Ecce  Agnus  Dei  ...... 

The  Virgin  with  the  Rose 

The  Virgin  in  the  Meadow 

The  Virgin  in  the  Meadow  (copy)    . 

The    Virgin    giving    Flowers    to    the    Infant 

Jesus  (copy)        ...... 

The  Madonna  di  San  Sisto       . 


Louvre,  Paris. 

Museum,  Madrid. 

Belvedere,  Vienna. 

Lost. 

Bridgcivater  Gallery,  London. 

Kingston  Hall,  Devonshire,  England. 

Munro  Collection,  London. 

Museum,  Madrid. 

Lost. 

Hermitage,  St.  Petersburg. 

Tribune  of  the  C'ffizi,  Florence. 
Gallery,  Dresden. 


JgCg^-^. 


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CLASSIFIED    CATALOGUE 


OF 


RAPHAEL'S    OTHER    WORKS. 


jj|HE  Infant  Christ  and  St.  John, 
The  Resurrection  of  Christ, 
The  Archangels   Michael   and 
Raphael    

Two  Church  Standards 

Coronation  of  St.  Nicholas  of  Tolentino 

Crucifixion 

Coronation  of  the  Virgin       .... 

Coronation  of  the  Virgin  (Design  by  Raphael) 

The  Vision  of  a  Knight  .... 

The  Marriage  of  the  Virgin     .... 

St.  Sebastian    ....... 

Christ  on  the  Mount  of  Olives 

St.  Michael 

St.  George . 

The  Three  Graces 

Ste.  Catherine  of  Alexandria 

The  Entombment       ...... 

76 


S.  Pietro  de  Casincnsi,  Perugia. 
Vatican,  Rome. 

National  Gallery,  London. 
SS.  Trinitd,  Citta  di  Castcllo. 
Lost. 

Collection  of  Lord  Ward,  London. 
I  atieau,  Pome. 
Vatican}  Rome. 
National  Gallery,  London. 
Br  era,  Milan. 

Collection  of  Count  Lecchi,  Bergamo. 
Collection  of  Mr.  Maitland,  Stanstead,  Lug. 
Louvre,  Paris. 
Hermitage,  St.  Petersburg. 
National  Gallery,  London. 
National  Gallery,  London. 
Boighcsc  Gallery,  Rome. 


Classified  Catalogue. 


77 


Ste.  Cecilia 

The  Vision  of  Ezekiel    . 

Christ  Bearing  his  Cross  (Lo  Spasimo) 

The  Visitation 

The  Archangel  Michael    . 

Ste.  Margaret 

Ste.  Margaret      ..... 

St.  John  the  Baptist 

The  Transfiguration  .... 


Gallery,  Bologna. 

Pitti  Gallery,  Florence. 

Museum,  Madrid. 

Museum,  Madrid. 

Louvre,  Paris. 

Louvre,  Paris. 

Belvedere,   Vicuna. 

Tribune  of  the  Uffizi,  Florence. 

Vatican,  Rome. 


PORTRAITS. 


Bust  Portrait  of  a  Young  Man 
Portrait  of  a  Young  Man  of  the  Riccio  Family, 
Portraits    of    Angelo    Doni    and    his    Wife, 
Maddalena  Strozzi        .... 

Portrait  of  a  Woman  ..... 

Portrait  of  Guidobaldo,  Duke  of  Urbino  . 
Portrait  of  Raphael  ...... 

Portraits  of  Two  Monks         .... 

Portrait  of  a  Young  Man  ...... 

Portrait  of  Pope  Julius  II 

Portrait  of  the  Marchese  of  Mantua     . 
Portrait  of  a  Youth       ..... 
Portrait  of  a  Woman  (La  Fornarina) 
Portrait  of  a  Woman      ..... 
Portrait  of  Bixdo  Altoviti        .... 
Portrait  of  Ph.edra  Inghirami 
Portrait  of  Giuliano  de'  Medici 
Portrait  of  Giuliano  de'  Medici  (copy) 
Portrait  of  Cardinal  Bibiena    .... 
Portrait  of  Baldassare  Castiglione    . 


South  Kensington  Museum,  London. 
Pinakothek,  Munich. 

Pitti  Gallery,  Florence. 

Tribune  of  the  Uffizi,  Florence. 

Lost. 

Uffizi  Gallery,  Florence. 

Academy,  Florence. 

Pitti  Gallery,  Florence. 

Tribune  of  the  Uffizi,  Florence. 

Collection  of  Mr.  L  ucy,  Charlecote  Park,  Fug. 

Louvre,  Paris. 

Barberiui  Gallery,  Rome. 

Tribune  of  the  Uffizi,  Florence. 

Pinakothek,  Munich. 

Pitti  Gallery,  Florence. 

Lost. 

Tribune  of  the  Uffizi,  Florence. 

Museum,  Madrid. 

Louvre,  Paris. 


78  Raphael. 

Portrait  of  Antonio  Tebaldeo  .        .        .  Lost. 

Portraits  of  Andrea  Navagero  axd  Agostixo 

Beazzaxo Lost. 

Portraits  of  Axdrea  Navagero  axd  Agostixo 

Beazzaxo  (copy) Dona  Gallery,  Rome. 

Portrait  of  Joaxxa  of  Aragox      .         .         .  Louvre,  Paris. 
Portrait   of   Leo   X.    with   Cardixals    Giulio 

de'  Medici  axd  Ludovico  de'  Rossi    .  Pitti  Gallery,  Florence. 

Portrait  of  Lorexzo  de'  Medici        .         .         .  Lost. 

Portrait  of  a  Violixist Collection  of  Lord  Russell,  London. 

Portrait  of  "  Raphael's  Mistress  "  .         .         .  Pitti  Gallery,  Florence. 

Portrait  of  Jacopo  Saxazzaro        .         .         ,  Hermitage,  St.  Petersburg. 

Portrait  of  Federico  Caroxdolet     .         .         .  Collection  of  Duke  of  Grafton,  London. 

Portrait  of  Moxsigxore  Lorexzo  Pucci        .  Collection  of  Lord  Aberdeen. 


FRESCOS. 

The  Holy  Trixity,  with  Saixts  .         .         .5.   Severe,  Perugia. 

Child's  Head  (painted  in  Fresco  on  a  Brick)  Pinakotlick,  Munich. 

FRESCOS    IN   THE   STANZA    DELLA   SEGNATURA. 

Theology. 

The  Parnassus. 

The  School  of  Athexs. 

Figures  of  Prudexce,  Fortitude,  axd  Moderation. 

The  Emperor  Justinian  giyixg  the  Paxdects. 

Pope  Gregory  IX.  giving  the  Decretals. 

Figure  of  Theology. 

Figure  of  Poetry. 

Figure  of  Philosophy. 

Figure  of  Jurisprudexce. 


Classified  Catalogue.  79 


Original  Sin. 

Apollo  and  Marsvas. 

Astronomy. 

The  Judgment  of  Solomon. 

Alexander  the  Great  placing  the  Poems  of  Homer  in  the  Tomb  of  Achilles. 

The  Emperor  Augustus  forbidding  the  Burning  of  Virgil's  tEneid. 

Paintings  in  the  Embrasures  of  the  Windows. 

Socle  Paintings. 

THE  STANZA   D'   ELIODORO. 
The  Almighty  appearing  to  Noah. 
The  Sacrifice  of  Abraham. 
Jacob's  Dream. 

Moses  before  the  Burning  Bush. 
Heliodorus  driven  from  the  Temple. 
The  Miracle  of  Bolsena. 
The  Discomfiture  of  the  Hordes  of  Attila. 
The  Deliverance  of  St.  Peter. 
Allegorical  Figures  and  Socle  Paintings. 
Paintings  in  the  Embrasures  of  the  Windows. 

THE   STANZA   OF  THE   INCENDIO   DEL   BORGO. 
The  Oath  of  Leo  III. 
The  Coronation  of  Charlemagne. 
The  Conflagration  in  the  Borgo  Vecchio. 
The  Victory  over  the  Saracens. 
Socle  Paintings. 
Paintings  in  the  Embrasures  of  the  Windows. 

THE   SALA   Dl    CONSTANTINO. 
Constantine  addressing  his  Troops. 
The  Battle  of  Constantine. 
The  Baptism  of  Constantine. 


8o  Raphael. 


Constantine's-  Donation  of  Rome  to  the  Pope. 
The  Eight  Popes  and  Allegorical  Figures. 
Socle  Paintings. 

THE   LOGGIE   PAINTINGS    (CALLED   RAPHAEL'S   BIBLE). 
First  Arcade.  —  Separation  of  the  Light  from  the  Darkness. 
Creation  of  Dry  Land. 
Creation  of  the  Sun  and  Moon. 
Creation  of  Animals. 
Second  Arcade.  —  Creation  of  Eve. 
Fall  of  Man. 
Expulsion  from  Eden. 
Consequence  of  the  Fall. 
Third  Arcade.  —  Building  of  the  Ark. 
The  Deluge. 
Leaving  the  Ark. 
Sacrifice  of  Noah. 
Fourth  Arcade.  —  Abraham  and  Melchisedec. 

The  Covenant  of  God  with  Abraham. 
Abraham  and  the  Three  Angels. 
Lot  and  his  Family  fleeing  from  Sodom. 
Fifth  Arcade.  —  God  appearing  to  Isaac. 
Isaac  embracing  Rebecca. 
Isaac  blessing  Jacob. 
Esau  claiming  the  Blessing. 
Sixth  Arcade.  —  Jacob's  Ladder. 

Jacob  at  the  Fountain. 
Jacob  asking  for  Rachel 
Jacob's  Return  to  Canaan. 
Seventh  Arcade.  —  Joseph  relating  his  Dream. 

The  Selling  of  Joseph. 
Joseph  and  Potiphar's  Wife. 
Joseph  before  Pharaoh. 


Classified  Catalogue. 


81 


Eighth  Arcade.  —  The  Finding  of  Moses. 

The  Burning  Bush. 

Crossing  the  Red  Sea. 

Moses  striking  the  Rock. 
Ninth  Arcade.  —  Moses  receiving  the  Tables  of  the  Law. 

The  Worship  of  the  Golden  Calf. 

Moses  kneeling  before  the  Pillar  of  Cloud. 

Moses  giving  the  Law  to  the  People. 
Tenth  Arcade.  —  Crossing  the  Jordan. 

The  Fall  of  Jericho. 

Joshua's  Victory  over  the  Amorites. 

Division  of  the  Promised  Land  by  Lot. 
Eleventh  Arcade.  —  David  anointed  King  of  Israel. 

David  and  Goliath. 

David's  Victory  over  the  Syrians. 

David  sees  Bathsheba  for  the  First  Time. 
Twelfth  Arcade.  —  The  Consecration  of  Solomon. 

The  Judgment  of  Solomon. 

Visit  of  the  Queen  of  Sheba  to  Solomon. 

Building  of  the  Temple. 
Thirteenth  Arcade.  —  Adoration  of  the  Shepherds. 

Adoration  of  the  Magi. 

The  Baptism  of  Christ. 

The  Last  Supper. 

Socle  Paintings. 


Vatican,  Rome. 


Figure  of  the  Prophet  Isaiah 

Prophets  and  Sibyls      

Galatea       

History  of  Cupid  and  Psyche 
Frescos  of  the  Chateau  La  Magliana  . 
The  Marriage  of  Alexander  and  Roxana, 
Mythological  Paintings    .... 


5.  Agostino,  Rome. 

S.  Alaria  dclla  Pace,  Rome. 

Farnesina  Palace,  Rome. 

Farncsina  Palace,  Rome. 

Louvre,  Paris. 

Borghcsc  Palace,  Rome. 

Bathroom  of  Cardinal  Bibiena,   Vatican,  Rome. 


82  Raphael. 


THE    TAPESTRIES. 


First  Series.  —  The  Miraculous  Draught  of  Fishes. 
Christ's  Charge  to  St.   Peter. 
The  Martyrdom  of  St.   Stephen. 
Healing  of  the  Lame  Man. 
Death  of  Ananias. 
Conversion  of  St.  Paul. 
Elymas  struck  with  Blindness. 
Paul  and  Barnabas  at  Lystra. 
St.   Paul  preaching  at  Athens. 
St.  Paul  in  Prison. 
SECOND  SERIES.  —  For  which  Raphael  made  only  the  sketches. 
Massacre  of  the  Innocents. 
Adoration  of  the  Shepherds. 
Adoration  of  the  Magi. 
Presentation  in  the  Temple. 
Resurrection  of  Christ. 
Noli  me  Tangere. 
Descent  into  Hades. 
Christ  and  the  Disciples  at  Emmaus. 
The  Ascension. 
An  Allegorical  Composition  relating  to  the  Papacy. 

Hall  of  the  Tapestries,   I  'atiean,  Rome. 


TAPESTRY    FOR   THE   ALTAR    OF   THE   SISTINE   CHAPEL. 

The  Coronation  of  the  Virgin  .....     Lost. 


Classified  Catalogue. 


§3 


THE  SEVEN   CARTOONS   FOR   TAPESTRIES   NOW    REMAINING. 
The  Miraculous  Draught  of  Fishes. 
Christ's  Charge  to  St.  Petep. 
Healing  of  the  Lame  Man. 
Death  of  Ananias. 
Elvmas  struck  with  Blindness. 
Paul  and  Barnabas  at  Lystra. 
St.  Paul  preaching  at  Athens. 

Sou tli  Kensington  Museum,  London. 


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SS^gga 


INDEX. 


The     Holy     Family     with     the     Beardless     St. 

Joseph,  36. 
of  the  Canigiani  Family,  37. 
Saintf.  Famille,  53. 

La  Grande  Sainte  Famille  de  Francois  I",  53. 
Il  Riposo,  54. 

The  Holy  Family  with  Jesus  seated  ox  a  Lamb,  3S. 
of  the  Louvre  (large).  53. 
(small),  53. 
under  the  Oak-Tree,  34. 
Palm-Tree,  35. 
called  the  Pearl,  52. 
Repose  in  Egypt,  54. 
Madonna  of  the  Alba  Family,  44. 

Aldobrandini  Family,  45. 
Countess  Alfani,  29. 
Al  Verde,  35. 
of  the  Ansidei  Family,  33. 

St.  Anthony,  33. 
del  baldacchino,  42. 
of  the  bridgewater  gallery,  47. 
with  the  Candelabra,  51. 
del  cardellino,  34. 


The  Madonna  di  Casa  Colonna,  40. 
of  the  Chair,  50. 

Conestabile,  30. 
Lord  Cowper  (large),  39. 
(small),  32. 
the  Curtain,  51. 
Diadem,  46. 
Diotalevi  Family,  30. 
del  Divino  Amore,  4S. 
Ecce  Agnus  Dei,  53. 
of  the  Esterhazy  Gallery,  43. 

Fish,  49. 
di  Foligno,  46. 
del  Gran  Duca,  31. 
dell'  Impannata,  4S. 
La  Belle  Jardiniere,  41. 
with  SS.  Jerome  and  Francis.  29. 
di  Loreto,  45. 
in  the  Meadow,  35. 
della  Casa  Niccolini,  39. 
of  the  Orleans  Gallery,  37. 
del  Passeggio,  55. 

DEL    PeSC'E,    49. 

85 


86 


Index. 


The  Madonna  di  Pescia,  42. 

with  the  Pink,  39. 
of  the  Ruins,  53. 
di  San  Sisto,  56. 
della  Sedia,  50. 

Seggiola,  50. 
with  the  Sleeping  Child,  40. 
called  the  slumber  of  jesus,  46. 
of  the  Solly  Collection,  28. 
Count  Staffa,  30. 


The  Madonna  with  Jesus  standing,  4S. 
della  Tempi,  36. 
Tenda,  51. 
of  the  Dukes  of  Terranuova,  32. 
The  Virgin  giving  Flowers  to  the  Infant  Jesus,  56. 
La  Vierge  au  Linge,  46. 
The  Virgin  in  the  Meadow,  56. 
with  the  Rose,  55. 
Silence  of  the  Holy  Virgin,  46. 
La  Vierge  au  Voile,  46. 


, 


TIIH  13dVH0  IV  3N  JO  AllSaaAINO 


